































LIBRARY OF CONGRESS. 

CfjujiZ^ 3 Cciujrigfjt l?o- 

Shelf: E 2,4 

UNITED STATES OF AMERICA. 


















































































• I 









To Wm. T. Harris, M. A, 

United States Commissioner of Education, 


D. T. Ames, and A. N. Palmer. 

Editors of “ art Journal ” and “ Penman.” 


My Dear Sirs : 

I might most appropriately dedicate a book to eaeh of you r 
who have been, and are still, so earnestly engaged in the construction 
and advancement of the Popular and Business Educational interests of 
our country. 

But, to this reason, I would add another : In so far as an author 
can show respect and admiration by the act of dedication, with all my 
heart, I now show to you, how fully I appreciate your command of the 
mind and pen; your scholarly learning; your marvelous industry ; 
your pre-eminent services to our age in elevating the sciences and arts, 
to their present high standard, and the incomparable aid which 
you have rendered to all who have studied such subjects as are 
written in this volume. 


Yours Very Truly, 





FARRIAN 


(^dmpkk Penmanship, 


CORRESPOH DEUCE, 


i>uginegg Soring and Miook-keepinf! 

3 (s^er* 1 G 


-FOR USE IN- 


Common Schools, High Schools, Normal Schools, 
Business Colleges, Academies 
and Self Instruction. 



By <J. W. FARR, Amtb|or, 



Farrian Business Course 



Entered according to Act of Congress, in the year 1893, 

By JOHN WESLEY FARE, 

In the Office of the Librarian of Congress at Washington, D. C. 


ALL RIGHTS RESERVED. 




CONTENTS. 


\ 


CONTENTS 


Page. 

Dedication of J. W. Farr, Author. Frontispiece 

Title Page. 1 

Notice of Copyright.... 2 

Contents. 3 

Illustrations. 7 

Preface. & 

Introduction. 11 

To Teachers. 13 

To students... 16 

Black-board Analysis. 18 

Penmanship—Definitions. 19 

Writing. 20 

Materials. 27 

Position. •• ... 29 

Pen Holding . .... 30 

The Writing Exercise. 37 

Movements,. .-. 39 

Lines. 41 

Parallel Linps. - •. 43 

Angle. 44 

Measurement. 45 

Slant. 40 

Form. 47 

The Ovals and Stem.... .. .». 48 

The Three Principles. 50 

The Writing Staff. 51 

Spacing. 52 

Shading. 54 

The Figures Classified. 55 

The Small Letters Classified. 50 

The Capitals Classified. 57 

The Principles Described.. 50 

Farrian General Rules . . 61 

The Zero Described, Analyzed and Explained. 62 

The Figure One Described, Analyzed and Explained. 62 


The Figure Two 
The Figure Three “ 
The Figure Four 
The Figure Five 
The Figure Six 
The Figure Seven “ 

The Figure Eight “ 

The Figure Nine 


“ 63 

“ 64 

“ 64 

M . 65 

“ .. 60 

“ . 66 

“ 67 

“ . 68 















































4 


FARRIAN PENMANSHIP. 


The Small Letter A Described, Analyzed and Explained .. 

Page. 
.... 68 

The Small Letter -Be “ 

*6 

“ 

6 4 


.... 69 

The Small Letter Se “ 

66 

6 6 

66 


.... 70 

The Small Letter De 41 

44 

6 » 

66 


.... 71 

The Small Letter E “ 


66 



.... 71 

The Small Letter Ef 

66 

66 

66 


.... 72 

Tne Small Letter Je “ 


6 t 

66 


.... 73 

The Small Letter Ach Described, Analyzed and Explained.. .. 

.... 73 

The Small Letter I 

6b 

66 

66 

66 

.... 74 

The Small Letter Ja 

i. 

66 

“ 

u 

.... 75 

The Small Letter Ka 

66 

66 

6 f 

u 

.... 75 

The Small Letter El 

66 

66 

6 t 

66 

.... 76 

The Small Letter Em 

66 

66 

it 

6 ( 

.... 77 

The Small Letter En 

46 

66 


66 

.... 78 

The Small Letter O 

66 


66 

66 

.... 78 

The Small Letter Pe 

16 


66 

it 

.... 79 

The Small Letter Ku 

66 

6 < 

6 6 

“ 

.... 80 

The Small Letter Ar 

6 6 

66 

C6 

66 

.... 80 

The Practical Letter Ar 

4 6 

6 4 

46 

66 

.... 81 

The Small Letter Es 

(6 

<6 

(6 

66 


The Long Letter Es 

6 • 

<6 

66 

_ 

... 83 

The Small Letter Te 


6 4 

6 ( 

u 

.... 84 

The Terminating Letter Te 

6 4 

“ 

i 6 

ti 

.... 85 

The Small Letter U 

6 4 

** 

66 

<6 


The Small Letter Ye 

66 

66 

66 

6 < 

.... 86 

The Small Letter Dnbelu 

(( 

66 

a 

u 

.... 87 

The Small Letter Ex 

64 

66 

66 

It 

.... 88 

The Small Letter Wi 

66 

<6 

66 

66 

.... 89 

The Small Letter Ze 

66 

6 4 

6 < 

(6 


The Capital Letter A 

6 4 

66 

66 

66 

.... 90 

The Capital Letter Be 

66 

6 < 

6 i 

66 

.... 91 

The Capital Letter Se 

(6 

64 

66 

t< 

.... 92 

The Capital Letter De 

i 4 

66 

a 

66 

... 93 

The Capital Letter E 

64 

6 4 

<6 

• 6 

94 

The Capital Letter Ef 

66 

66 

a 

6c 

.... 94 

The Capital Letter Je 

<6 

a 

66 

66 

.... 95 

The Capital Letter Ach 

66 

(6 

66 

<6 

.... 96 

The Capital Letter I 

<6 

a 

66 

*6 

.... 97 

The Capital Letter Ja 

66 

66 

66 

66 

.... 98 

The Capital Letter Ka 

64 

66 

6 6 

66 

.... 98 

The Capital Letter El 

<6 

44 


a 

.... 99 

The Capital Letter Em 

66 


66 

46 


The Capital Letter En 

66 


66 

ti 

.... 101 

The Capital Letter O 

66 

(6 

6 < 

46 . 

.... 102 

The Capital Letter Pe 

a 

ft 

6 t 

64 

.... 102 

The Capital Letter Ku 

64 

a 

66 

66 

.... 103 













































CONTENTS. 


5 


Page. 

The Capital Letter Ar Described, Analyzed and Explained. 104 

The Capital Letter Es “ “ “ “ 105 

The Capital Letter Te “ “ “ “ 105 

The Capital Letter U M “ “ “ 106 

The Capital Letter Ye “ “ “ . 107 

The Capital Letter Dubelu “ “ “ “ 108 

The Capital Letter Ex “ <c “ “ 109 

The Capital Letter Wi “ “ “ “ 110 

The Capital Letter Ze “ “ “ “ Ill 

The Character And “ “ <( “ .112 

Muscles. 113 

Miscellaneous. 115 

Reviews. 119 

Review of Small Characters.121 

Review of Capitals . 122 

General Review. 123 

Miscellaneous Review. 123 

Tracing Process. 136 

Engraving. 136 

Specimens. 138 

PART II. 

Black-board Analysis... 141 

Correspondence. 142 

Parts of a Letter. 142 

Heading. 143 

Introduction. 143 

Body. .. 145 

Paragraphs. 145 

Conclusion. 145 

Folding. 146 

Superscripton. 147 

Parts of a Letter Illustrated. 149 

Model Superscription. 150 

Stationery. 151 

Kinds of Letters. 152 

Use of Capitals. 154 

Punctuation. 154 

Blemishes.. 156 

Literary Items. 158 

Postal.- • 159 

General Directions. 153 

Letters of Application. 164 

Business Letters. 168 

Letters of Recommendation.112 

Letters of Condolence. 116 














































■6 


FARRIAN PENMANSHIP. 


Page. 

Letters of Friendship. 180 

Letters of Introduction. 184 

Letters of Congratulation. 187 

Invitations, Acceptance, Etc.,. 18° 

General Review . 192 

Poem—“ Write a Letter To-Night ’’. 193 

PART III. 

Black-board Analysis.. 194 

Business Forms . 195 

Business Terms. 197 

Legal Terms. 199 

Business Guide. 202 

Contracts. 203 

Bills. 208 

Legal Papers. 211 

Legal Letters.216 

Receipts. 219 

Notes. 221 

Lease. 223 

Lien. 225 

Drafts. 226 

Petition. 235 

Certificates. 227 

Business Papers . 231 

Attachments... 231 

Power of Attorney. 336 

Protest Papers. 237 

PART IIII. 

Black-board Analysis. 241 

Bookkeeping . 242 

General Terms. 244 

Accounts. 246 

General Rules. 249 

Rules for Closing Accounts. 252 

Definitions. 254 

Abbreviations. 255 

Review. 257 

Day Book. 258 

Cash Book. 266 

Journal. 267 

Ledger. 272 

Trial Balance. 280 

Summary. 281 

Finis Journal. 282 

Reform Spelling. 283 


















































ILLUSTRATIONS. 7 


ILLUSTRATIONS. 

Page. 

The Front Position. 33 

The Oblique Position. 34 

Position of Hand and Pen. 36 

The Finger Movement. 39 

The Muscular Movement. 40 

The Free Arm Movement. 40 

The Combined Movement. 41 

Lines. 43 

Parallel Lines. 43 

Angles. 44 

Measurement. 45 

Slant. 47 

Turns, Loop and Cross. 48 

The Oval and Stem. 49 

The Three Principles. 51 

Staff. 52 

The Oval Figures. 55 

The Stem Figures. 55 

The Minimum Letters. 56 

The Small Stem Letters. 57 

The Loop Letters. 57 

The Oval Letters. 58 

The Capital Stem Letters. 58 

The Principles. 59 

Standard Figures. 62 

Standard Small Letters. 68 

Standard Capital Letters. 90 

Farrian Movement Exercise. 124 

Farrian Model Letter. 125 

Farrian Standard Characters. 126 

Farrian Standard Analysis. 127 

Farrian Business Hand. 128 

Farrian Plain Alphabets. 129 

Farrian Medium Hand. 130 

Farrian Freearm Capitals. 131 

Farrian Marking Characters. 132 

Farrian Business Letter. 133 

Farrian Ovals and Autographs. 134 

Farrian Artistic or Ornamental Penmanship. 135 














































PREFACE. 


^pITE Author has no apology to offer for the appearance of this 
1 new system of penmanship; hut would point to the millions 
who cannot write a plain, legible hand, much less describe, analyze 
and explain the characters so much used in the business world. 
Writing is second in importance to that of speaking, in communi¬ 
cating our thoughts to others. It has well been said that “writing 
is a secondary power of speech, and they who cannot write are in part 
dumb.” Hence, one year devoted strictly to the subject of penman¬ 
ship is well spent. 

A good hand-writing is worth more than all the time and money 
usually spent in securing it. In fact, if rightly used, it is a good for¬ 
tune in itself, to all who would aspire to business or commercial pur¬ 
suits. 

A good, plain, hand-writing is one of the greatest aids in any 
profession, and one of the strongest elements of promotion and suc¬ 
cess, carrying with it an indisputable reference by which many secure 
their first positions, through the recommendation of their plain busi¬ 
ness hand-writing. 

In presenting this system of penmanship to the “lovers of the art 
of writing,” the author has made no effort in the script part to display 
the beauty of beauties in penmanship, but has rather tried to adapt a 
plain style of writing suitable for all business purposes. The copies 
are arranged so as to assist the student in acquiring a handsome, neat, 
plain style of business writing. 

The author has kept in mind that Art performs while Theory only 
directs. Hence, if we would attain excellence in penmanship, we 
must unceasingly train the hand and inform the mind, ever remember¬ 
ing, that Penmanship requires a great deal of intelligence, practice 
and study. It is everywhere acknowledged that writing is second to 
none as a leading branch in an education. It is an art founded upon 
drawing. The former requiring a quick movement, while the latter 
may be slow. 

Heretofore it has been common for teachers of penmanship to give 
more attention to the Theory and form than to the art and physical 
training : but in this work we have aimed to reverse this method. 

This book is designed for both teacher and student. 

(8) 




PKEFACE. 


9 


It is the outcome of ten years’ experience in teaching the Art of 
Penmanship. Again, no one will deny the great importance of a good 
plain hand-writing and that the successful aspirant must not only be 
able to write a good plain hand, but must be able to write rapidly. 
This is a day of business, electricity and dispatch. 

Poor writing, that cannot be read, is like another language which 
we cannot understand, and writing that may be read with some diffi¬ 
culty is like stammering speech. 

Therefore, it is important that the student be trained to write 
plainly and rapidly. 

The aim of the author of this system of writing has been to pre¬ 
sent the subject of penmanship by means of questions and answers, in 
a simple, plain and attractive manner, so that anyone can clearly 
understand the ideas to be expressed, and by sufficient practice may 
become a good penman. 

Parts II and III were prepared in responce to an increasing 
demand from teachers of Common Schools, High Schools and Bus¬ 
iness Colleges, for a brief course in correspondence and business forms. 
The combining of these three subjects in one will, no doubt, receive 
the approval of instructors generally, as it enables them to teach these 
branches, viz : Penmanship, Correspondence and Business Forms, in 
regular order, as they should be taught. 

These three subjects naturally go together. The first, teaches the 
student how to write; the second, gives him an opportunity to apply 
his knowledge of penmanship to a practical purpose by teaching him 
how to conduct a general correspondence, and the third, contains direc¬ 
tions and models for drawing all kinds of legal forms, and is designed 
to prepare the student for the transaction of general business. 

Too much importance cannot be attached to Correspondence, 
Business Forms, Etc. There are thousands of teachers, hundreds of 
graduates of high schools and colleges and many business men who 
cannot write a. neat, presentable letter, or properly draw a business 
form. 

These subjects are here presented in a systematic manner, a model 
being given of each kind of Letter, Business Form, Etc. 

Various Models of Invitations, Acceptance and Regrets, are given. 

Part IY contains the Elements of Book-keeping, and one month’s 
Work in Practice. The books employed in this set of books are Day 
Book, Cash Book, Journal and Ledger. 

The special features of this System of Book-keeping, is the short 
and comprehensive plan of making a record of a business transaction. 

This course is designed for use in Public Schools and for self 
instruction where a short and comparatively simple course in the art 
and science of Accounts is desired. 


2 



10 


FARRIAN PENMANSHIP. 


A fair knowledge of the science and art of Book-keeping may be 
learned by thoroughly mastering this brief course. 

Many teachers, students and business men, can understand the 
feelings which actuated the Author who, failing to find in his library 
the book he wanted, went to work and wrote one. 

At rare intervals we have succeeded in finding the exact books we 
wanted and needed. Of such books there cannot be too many. The 
Motive of the Author has been to make a book to meet the needs and 
wants of the student, the teacher and the business man. 

Teachers and parents, the Author kindly submits this volume to 
you for a generous consideration of its merits and demerits, and if it 
should be the means of some of the millions of your students and 
children obtaining that part of an education of which it treats, and 
in some way lead them to honorable success, the Author will be amply 
repaid for his time and labor. 







Introduction. 


HERE is no greater accomplishment than Penmanship. 



A Writing may be defined as a short method of talking to 
our friends and the commercial world upon paper by means of 
script characters called letters and figures. 

That Penmanship is an art, that there are certain estab 
lished principles, both mental and physical, observed by all 
good penmen, and violated by all bad ones, none, who have 
fully investigated the subject ? will deny. To understand and 
explain these principles should be the object of the student and 
teacher of penmanship. 

Ten years’ experience as a teacher of penmanship has fully 
convinced the Author, that the practice and study of penman¬ 
ship ends in our schools where it should only begin in earnest. 

It should be borne in mind that Penmanship is but speak¬ 
ing with the pen. Hence, the importance of the writer being 
able to express himself as easily with the pen as in oral conver¬ 
sation. Hand writing reflects the intelligence and character of 
the writer. 


“One ink drop on a solitary thought 
Hath moved the mind of millions.” 


Good writing is as pleasing to the eye as good language 
sounds to the ear. 

The contents of this little book is but our ideas of present¬ 
ing the subject of Penmanship reduced to practice. Some of 
these ideas have been gleaned from penmen, some from authors 
and some from lessons of experience. 

Anyone desiring a business position must, not only be a 
good penman, but should be able to write a good letter, and be 
able to draw up any kind of commercial papers as well. Such 
ability will often secure positions for teachers, book-keepers, 


(11) 




12 


FARRIAN PENMANSHIP. 


clerks and many others. There are no branches taught in our 
schools which are of more importance and none that are more 
neglected. For this reason we have introduced the subject of 
Correspondence and Business Forms. This should be taught as 
soon as the student is able to write a fair hand. The questions- 
and answers are short and comprehensive, and of those words 
in most common use. They have been carefully arranged with 
reference to the subject in hand. 

The directions should be carefully studied. The models- 
are not only to be copied , but should be learned as a guide for 
the student in General Correspondence and preparing Legal 
Business Forms on the various subjects mentioned. 

The last part of the book is devoted to the Science and Art 
of recording business transactions and keeping accounts of the- 
same in such a manner that the business man may know at any 
time with accuracy and ease the true condition of a business. 

That every boy and girl should master the fundamental 
principles of Bookkeeping, and be able to keep a neat set of 
books for themselves, in after life, before passing through the 
portals of school into the business world, no educated person 
will deny. 

The instructor on this subject should first have the class- 
carefully study the definitions and rules and then teach them to- 
apply the same in practical work, as given in the Model Day 
Book, Cash Book, Journal, Ledger, etc. 

After this is thoroughly learned the instructor should give 
the class a set of business transactions daily, until each student is 
able to keep a full set of books for himself. 

After an experience of ten years in teaching these subjects 
in all grades of schools, the Author does not hesitate in stating: 
That if the teacher in charge of these subjects will carry out 
this method of teaching as here presented, success will inevitably 
crown his work. 




r 


I 


o Teachers. 


Previous to the publication of this system of Penmanship 
nothing has ever appeared with these principles on the same 
.style and plan. 

The merit of the present work lies in its method of present¬ 
ing the subject in a clear, practical, attractive manner. The 
method of this book consists of two things, namely: First, 
that each pupil shall do the work for himself, and second, that 
. by reference to the rules, questions and answers he shall know 
when he is right. 

A pupil is benefited much more by what he does for himself 
than by what is done for him. 

The qualification of every successful teacher of penmanship 
consists in his ability to stimulate into vigorous action each 
student’s power to describe, analyze and explain the characters 
used in writing. 

In teaching according to this system the black-board and 
paper should be brought into constant use. In fact, it will 
simply be a waste of time to attempt to teach this subject with¬ 
out them. By their proper use a pupil can soon be taught to 
write a plain hand. 

The author hopes that no teacher will attempt to teach this 
system without the use of black-board and paper. 

The use of the book may be varied to suit the taste and 
qualifications of the teacher and the need of the pupils. 

At the beginning of each term the pupil should be required. 
if he can , to write a fair specimen of his handwriting to be pre¬ 
served until the end of the term for comparison. The author 
suggests the following form: 

Jan. 1, 18—. 

This is a fair specimen of my handwriting before taking 
lessons in penmanship of Mr, ----. 

( 13 ) 






14 


FARRIAN PENMANSHIP. 


The teacher should draw the “writing staff,” consisting of 
six lines and five spaces , upon the black-board, and form the 
characters to be described analyzed and explained upon the 
same. 

After the pupils have had sufficient time to study and prac^ 
tice upon these, the teacher will recite the rules, one step at a 
time in the form of a question, for describing, analyzing and 
explaining the characters used in writing, numbering, reading 
and pausing after each step of the rules, while the class one at a 
time or in concert, describe, analyze and explain all the charac¬ 
ters on the staff, or as many as time will permit of at that recita¬ 
tion, according to the General Rules I and II for describing,, 
analyzing and explaining the characters. 

As soon as a pupil is able to write, so it can ~be read, he- 
should be required to write and present for your correction 
and inspection at least one different letter or business form ea.cn 
lesson. 

This system of teaching Penmanship is comprehensible and 
complete, presenting a simple common sense plan which is- 
readily understood and easily taught. It possesses many im¬ 
portant advantages over all other systems of Penmanship from, 
the fact it is the only system which produces or can produce* 
uniformly good results in Penmanship in all grades of the- 
school. These results are positive, and any improvement shown 
in the Penmanship class is noticeable at once and regularly by 
making these results permanent. 

Penmanship should be taught as a habit of both mind and 
muscle , and when once established it will not be easily lost. 

All scientific study and practice are based upon the proper 
training of the mind in connection with the muscles of the en¬ 
tire arm, as the writing is invariably produced by the united 
action of both mind and muscle. 

By the use of this system the pupils of all grades can 
rapidly acquire a plain, beautiful business style of Penmanship. 

It is a self-teaching system, but may be assisted by the pro¬ 
ficient, teacher. 

The successful teacher will not only require study and prac¬ 
tice to develop and discipline th v mind and the muscles of the, 



TO TEACHERS. 


15 


arm as well, but if necessary compel them, by some source or 
other, to apply what they have learned of writing in all their 
daily lesson work. 

Teachers of this branch should establish and maintain such 
rules and conditions as will induce each pupil to teach himself 
to write a plain, beautiful style of business writing with the 
muscular movement, which, by constant use , will finally become 
automatic. 

“Who would become a writer fine, 

Must take a deal of pains; 

Must criticise his every line, 

And mix his ink with brains.” 

The purpose of this volume is to provide a thorough practi¬ 
cal course in Penmanship, Correspondence, Business Forms and 
Book-keeping, and it is believed to be the best text book now 
published on these subjects. 

The present demand for instruction in these subjects is very 
encouraging to teachers and business men generally. 

In conclusion: When Penmanship, Correspondence, Business 
Forms and Book-keeping shall be taught and practiced in 
our schools and colleges, their principles studied and known in 
their physical as well as mental sense, then, and not till then, 
will good writing, correspondence, etc., be the rule. 

To awaken a deeper interest in these subjects and be of 
some assistance to the millions in learning the u Art of Arts ” is 
the hope of the Author, 








To Students. 


Penmanship, Correspondence, Business Forms and Book-keeping 
are, both as a practical study and mental discipline, the most impor¬ 
tant branches of an education within the reach of all, which are so 
well calculated to impress upon the student’s mind the importance of 
system, neatness, business and accuracy. 

Aside from their value as a pleasure, they are more productive of 
beneficial results and must necessarily take a very high rank in the 
scale of studies which are designed to prepare the American youth 
for the active duties of life. 

It does not matter what a student’s profession or occupation is to 
be, a thorough mastery of these subjects cannot fail to be of the 
greatest importance to him as a resource, giving the mind strength 
und confidence in after life. 

In this country, “Business is King,” and anyone who thinks of 
entering upon a business career must regard these subjects as the lead¬ 
ing branches of a popular education, and an absolute necessity, in 
order to succeed in business. 

Value. The student in entering upon the study of this “Business 
Course,” should ever keep in mind, that he is undertaking a course of 
study which will be of great importance and value to him in after 
life. Although, he may never use it as a means of “Making a Living,” 
the study of these subjects will call into exercise many qualities of 
the mind which are so very essential to success through life. 

Independence. The student who would be successful in any 
•study must cultivate independence of thought, and call for aid from 
the instructor, only when his own resources have been exhausted. He 
should not take anything for granted, but first investigate thoroughly 
for himself. Do not assume that which you do not understand, and 
wrong yourself, injure your mind, and thus, prevent the teacher from 
giving you the instruction needed, and which might otherwise be of 
the greatest value to you. 

No matter how much you know, do not think that knowledge can 
take the place of patient care and faithful earnest work. 

System. In study and business there is nothing that pays more 
than system, and it should be strictly enforced at every step. In 
business, real success depends upon habits of order and attention to 
details. The time spent by a business man in the systematic arrange¬ 
ment of his work, having a pDce for everything and every thing in its 
place, is time well spent. Students too often think, that because no 
financial results depend upon the work in the text book, no importance 
need be attached to neatness, accuracy, etc., which afterwards costs 
them a great effort not to follow. 

Accuracy. The first requisite of a good penman correspondent 
legal writer or book-keeper, is accuracy. 

In book-keeping, as in law, the least mistake must sooner or later be 
■discovered and corrected before you can safely proceed 

( 16 ) 



TO STUDENTS. 


IT 


It is much easier, and far better, to avoid all errors, than to detect 
and correct them after they have been made. 

The student should take great care to prevent these troublesome 
errors. An ounce of preventative is worth a pound of cure. 

Neatness. The second essential of the penman, clerk or book¬ 
keeper is neatness. 

Our best business men insist that their books, etc., must be kept 
neatly, as well as accurately. Business writing should be in a plain, 
neat, fluent style, and without shade, except in prominent words, 
.addresses, ledger titles, etc. The figures should all be of the same 
height or length, small, neat and plain. All*ruling should be done 
with care. Avoid all blots and erasures, so that your work may present 
a neat, creditable appearance. 

Rapidity. Rapidity is an essential element to all who use their 
mind and pen as a means of livelihood. 

The student’s first aim should be accuracy and neatness, which 
must be followed by rapidity if you are successful. “Make haste 
.slowly,” as haste will sooner or later cause error which will cost you 
much more time than you have gained by hurry. 

The student should learn that accuracy, neatness and rapidity go 
hand in hand, and that they are three of the most important elements 
in all business transactions. 

Book-keeping. In a nation like ours, with an area of about four 
million square miles, and almost a boundless extent of resources; where 
-each student is free to exercise his mental and physical powers in any 
direction ; where the student of today does not only become the voter 
of tomorrow, but is liable to be called upon to fill positions of honor, 
trust and responsibility, the study of book-keeping should be con¬ 
sidered a necessity in any system of education. If the studewt would 
become a good accountant, he must secure a business education, as a 
• business education is the foundation of business success. 

A good book-keeper learns all the details and intricacies of the 
articular business of which he is to keep the records. He determines 
the gains of the firm or corporation, for which he keeps the books, and 
iotes the kind of merchandise which realizes the greatest profit. He 
should be able to locate all the best markets in the world and should 
be on the inside track in every particular, relative to the firm’s 
business. 

The book-keeper should possess such qualifications as will make 
him the employer’s chief counsellor, the man who names his 
own salary, and who ultimately may become a partner in the firm. 
These qualifications may be summed up in these words: Honesty, 
accuracy, neatness, legibility, rapidity and attentiveness to business. 





18 


FARRIAN PENMANSHIP. 


BLACK-BOARD ANALYSIS. 

* - 


1. Definitions. 

2. Materials. 

3. Positions— 

(1) front ; (2) oblique; (3) 

right; (4) left. 

4. Pen holding. 

5. Writing exercises. 

6. Movements— 

(1) finger; (2) muscular; (3) 
freearm; (4) combined. 

7. Angle. 

8. Lines. 

9. Measurement. 

10. Slant. 

11. Form. 

12. Parts of capitals. 

13. Principles— 

(1) principle one; (2) principle, 
two ; (3) principle three. 

14. Staff. 

15. Spacing. 


Shading. 

Figures— 

(l)oval; (2) stem.. 

Small letters— 

(1) minimum; (2> stem; (3> 
loop. 

Capital letters— 

(1) direct oval; (2) inverted 
oval; (3) modified aval; (4), 
capital stem. 

20. General rules— 

U) rule one; (2) rule two. 

21. The characters— 

(1) described; (2) analyzed;. 
(3) explained. 

22. Muscles. 

23. Miscellaneous. 

24. Reviews. 

25. Copies, etc. 

26. Correspondence. 

27. Business forms. 

28. Book-keeping. 


PENMANSHIP. 

16. 

17. 

18. 

19. 




PENMANSHIP. 


19 - 


LESSON 1 


PART I. 


PENMANSHIP. 


1. Penmanship. 

2. Writing. 

3. Art. 

4. Real art. 

5. Means. 

6. What the subject includes. 

7. Essentials of writing. 


8. Legibility. 

9. Rapidity. 

10. Beauty. 

11. Three requisites. 

12. When a child should begin to write . 

13. One of the first copies. 

14. Points for criticising writing. 


1. Define penmanship. 

Penmanship is the art of writing. 

2. Define writing. 

Writing is the art of expressing our ideas upon paper or 
other writing surface by means of characters called letters andl 
figures. If engraved, it is called script writing. 

3. Define art as used in penmanship. 

Art is the employment of means to accomplish a desired 
end. The desired end is writing. 

Define art as applied to the real act in writing. 

Art is the skill, dexterity, or the power of performing cer¬ 
tain actions acquired by study, observation and experience. 

5. Define means as used in penmanship. 

Means, as used in penmanship, are the pens, pencils, cray¬ 
ons, slate, black-board and paper, used in writing. 

6. State what penmanship includes. 

Penmanship, in its widest sense, includes all kinds of writ¬ 
ing, whether done with a pen or other instrument. * 

7. What are the essentials of good writing f 

Legibility, rapidity and beauty. 

8. Define legibility as used in penmanship. 

The art of writing plainly so that it can be read or deci¬ 
phered without effort. 

9. Define rapidity as used in penmanship. 

The art of writing rapidly and plainly at the same time.. 

10. Define beauty as used in penmanship. 





30 


FARRIAN PENMANSHIP. 


Beauty is the art of arranging the lines or curves in writing 
so as to present to the eye a smooth, graceful appearance. 

11. What three requisites are necessary in order to become 
•a good penman f 

One good eye, arm and hand. 

12. When should a child begin to study and practice 
writing f 

It should begin to study and practice writing as soon as it ia 
►old enough to go to school. 

IS. What is one of the first copies a pupil should learn to 
write f Why f 

Its own name. Because it is of the most importance to it 
and because of the interest a pupil takes in learning to write its 
name. 

If Give the points to be considered in criticising a student's 
work in writing. 

(1) Position of body and material; (2) manner of holding 
the pen ; (3) the form of the letters ; (4) the use of capitals; 
<5) spacing; (6) shading ; (7) punctuation ; (8) legibility ; (9) 
-rapidity ; and (10) beauty. 


LESSON 2. 

WRITING. 


1 . 

Difference of terms. 

8. 

2. 

Terms explained. 

9. 

3. 

Difference explained. 

10. 

4. 

Penmanship and writing. 

11. 

5. 

Ally of writing. 

12. 

6. 

Writing and drawing. 

13. 

7. 

Drawing assists. 

14. 


Secret of learning to write. 
Change of practice. 

How to study penmanship. 

First and second year’s work. 
Third and fourth year’s work. 
Fifth and sixth year’s work. 
Seventh and eighth year’s work. 


1. What is the difference in the terms penmanship and 
writing f 

They are sometimes used synonymously and may be so used 
in some cases; but they are of different derivation and should be 
so used as to convey the idea intelligently. 

2. Define the terms as they should be used. 







WRITING. 


21 


Penmanship simply means the office of the pen and all of its 
productions, while writing only includes the real act of expres¬ 
sion of thought or ideas by means of characters called letters and 
figures. 

3. Give a short definition of penmanship and writing. 

The former means the office or manner of expression, the 
latter means the act of expression only. 

Briefly explain penmanship and writing. 

The former is only associated with the form of the charac¬ 
ters, while the latter has reference to the use of those forms of 
characters in expressing thought. 

5. What is the ally of writing f 

Drawing is the ally of writing. 

6. What is the difference in the art of writing and drawing f 

The former requires a quick, muscular movement, while the 
latter may be a slow movement. 

7. How does drawing assist in writing f 

If the proper position and movements are employed it trains, 
both the muscles and the eye. 

8. What is the secret of learning penmanship? 

Intelligent study, much practice, constant vigilance and 1 

continual correction of faults. 

9. When should the student quit practicing from a copy ? 

As soon as they have acquired a sufficient amount of skill 

and obtained a thorough knowledge of all the characters em¬ 
ployed in writing. 

10. Is it intelligent to undertake to teach penmanship only* 
from copies ? 

It is a waste of time. Every pupil should have some good 
work on penmanship and study the subject and practice the 
copies at the same time. 

11. What should the student do the first and second years at 
school in penmanship ? 

Learn to write the principles and draw the letters on the 
writing staff. Learn to write his name and form all the figures^ 
small and capital letters. Learn position of body, pen, paper,, 
ink, etc. Practice easy movement exercises. Use slate and 
ruled paper and lead pencil. Study easy definitions. Review. 

13. The third and fourth years ? 



22 


FARRIAN PENMANSHIP. 


Begin the use of pen and ink, practice the movement exer¬ 
cises. Review the first and second years’ work. Form all 
the characters with the pen. Study the subject. Learn to de¬ 
scribe, analyze and explain the characters. Write words and 
sentences. Use of capitals, spacing, punctuation and short com¬ 
position. Review. 

13. The fifth and sixth yearsf 
Review work of third and fourth years. Practice movement 
exercises. Carefully study the following subjects, viz.: Pen¬ 
manship, writing, position, penholding, movements, angle, lines, 
slant, form, oval, staff principles, spacing, shading, classification, 
general rules, the muscles and correspondence. Review. 

If The seventh and eighth years f 
Review work of fifth and sixth years. Practice advanced 
movement exercises and combinations of capitals, black¬ 
board writing, artistic and shaded capitals, marking alphabets. 
Review correspondence. Study the correct structure, capitali¬ 
zation, punctuation, forms and uses of the various kinds of 
letters, notes and cards, folding, addressing, spacing and para¬ 
graphing. Write business forms, business letters, social letters 
and notes of invitation with answers. Copy selections of poetry 
and prose; write compositions ; master the muscular, combined 
and freearm movements. Use unruled writing paper. Study 
Business Forms. Complete Book-keeping. Review. 


LESSON 3. 


PENMANSHIP. 


1. How penmanship is taught. 

2. Correct form of the characters. 

3. Ready command of the pen. 

4. Chief aim of penmanship. 

5. Penmanship in the schools. 

6. Definition of penmanship. 

7. Definition of writing. 


8. Time to devote to penmanship. 

9. Method for teaching beginners. 

10. Method for teaching advanced classes. 

11. Left-handed students. 

12. Ambidexterity. 

13. Argument. 

14. Leading points. 


1. How is the Farrian penmanship taught f ' 

It is taught by means of principles, movement exercises, 
description, analysis and explanation. 





PENMANSHIP. 


23 


2. How can a clear idea of the correct form of the charac¬ 
ters be obtained f 

By much careful study and practice. 

3. How can a ready command of the pen be secured f 

By much intelligent practice and training of the muscles on 
the movement exercises. 

f What should be the chief aim in studying and teaching 
penmanship f 

To make good business penmen. 

5. What is said of penmanship as a branch of study in 
the public schools f 

Thus far, penmanship in its true educational phase has been 
sadly neglected. 

6. Give a complete definition of the term penmanship. 

Penmanship is the use of script characters called letters and 

figures, to record ideas by means of an act or art called writing. 

7. Give a full definition of the term writing. 

Writing is the act of expressing, and the art of recording 
Ideas by means of characters called letters and figures. 

8. How much time should be devoted to penmanship daily 
in the public schools f 

There should be, at least, thirty to sixty minutes devoted to 
this branch daily, which may be equally divided between study 
and practice. 

9. Give a good method for teaching beginners to write. 

(1) a good blackboard should be placed where it can be 
seen by the whole class ; (2) the teacher should write a plain 
copy on the black-board for them to copy on their slates or 
paper ; (3) make constant use of the writing staff in teaching 
the description analysis, and explanation of the characters. 

10. Give a good method of teaching advanced penmanship. 

Make constant use of the blackboard in illustrating the 

principles, the figures, the small and capital letters. On this 
teach slant, form, spacing, shading and the description, analy¬ 
sis and explanation of all the characters employed in pen¬ 
manship. 

11. In teaching penmanship , what would you do in case a 
student was left handed ? 




24 


FARRIAN PENMANSHIP. 


Teach him to write with the right, and then he can write 
wim either hand in case of an accident. 

1%. What is advocated concerning ambidexterity and pen¬ 
manship f 

That students should be taught to write with either hand 
with equal readiness and ease. 

IS. What argument is produced against teaching a student 
to write only with the right hand f 

That it developes only one side of the body and brain. 
lih What three leading points should be aimed at in study¬ 
ing and teaching penmanship f 

Legibility, rapidity and beauty. 


LESSON 4 


WRITING. 


1. Characters employed. 

2. Classification of the characters. 

3. Capital letters. 

4. Character &. 

5. Small letters. 

6. Practical r. 

7. Long s. 


8. Terminating t. 

9. The zero. 

10. Physical training. 

11. Business writing. 

12. Plain writing. 

13. Artistic writing. 

14. Worth of a good handwriting.. 


1. IIow many characters are employed in penmanship ? 

There are sixty-nine different characters. 

< 2. Classify the characters according to their use , and give 
number of each class. 

Besides the three principles which form the characters, 
there are twenty-seven capital letters including the character 
& ; twenty-nine small letters including long s, practical r, and • 
terminating t; and ten figures including zero. 

3. Where should the capital letters be used f 

The first word of each sentence, line of poetry, proper 
names and proper adjectives, the words I and O, and'all names 
pertaining to the Deity should begin with a capital letter. 





WRITING. 


25 


f Where may the character <& be used f Italics f Capitals f 

It may sometimes be used in business instead of the word 
u and.” In writing, one line under a letter or word denotes 
Italics ; two lines indicates capitals. In the Scripture the 
Italic words are supplied by the translators of the Bible to 
explain the “original.” 

5. Where should the small letters be used f 

At all places where it is not proper to use the capital 
letters. 

6. When should the practical r be used ? 

It should always be used when it is preceded by a horizon¬ 
tal curve as in the small letters b, o, v and w. 

7. When may the long s be properly used f 

When the s is repeated or doubled. 

8. When should the terminating t be used ? 

It should be used when it ends a word. 

9. For what is the zero used in writing f 

It is used with the figures to fill vacant orders. 

10. Define the term physical training in penmanship. 

The training of the muscles to properly execute the char* 
acters used in writing. 

11. Define the term business writing. 

That handwriting suited to all business purposes. 

13. Define the term plain writing. 

That handwriting free from flourishes. 

13. Define the term artistic writing. 

Writing which has been beautified by flourishes or extra 
strokes of art. 

Ilf. Give the worth of a good handwriting and a thorough 
knowledge of penmanship. 

Its worth and enjoyment, other educational qualities being 
equal, can safely be placed at a “ Million Dollars.” In fact, it 
is incalculable, and cannot be over estimated. 


3 




26 


FARRIAN PENMANSHIP. 


LESSON 5. 


PENMANSHIP. 


1. Physical and mental training. 

2. Chief difficulty in writing. 

3. The first thing to do in writing. 

4. Correct position and form. 

5. Course to pursue in penmanship. 
5. How to dispose of characters. 

7. The theory of penmanship. 


8. Incentives in penmanship. 

9. Auxiliary essentials. 

10. Rapid movement and accuracy 

11. Engrossing. 

12. Photo-engraving. 

13. Photo lithographing. 

14. Metronome. 


1. Which should come first , physical or mental training ? 

They go hand in hand. The body, arm, hand and muscles 
should be trained to execute the characters at the same time the 
mind is employed studying their forms. 

2. What is the chief difficulty with most persons in 
writing f 

They have not had sufficient physical or muscular training. 

3. What is the first thing to do in order to become a good 
penman f 

Study the system of penmanship thoroughly, learn the cor¬ 
rect position of the head, body, arms, feet hand and pen, and 
practice upon the movement exercises until they become natural 
and easy at all times. 

f Which should the student study first, the correct position 

or the form of the characters f 

The student should first learn the correct position by practic¬ 
ing upon the movement exercises, keeping the correct position 
at all times, and then study and practice on the forms of the 
characters. 

5. What course must the student pursue in order to be suc¬ 
cessful in the study of penmanship f 

A vigorous action of the mind and muscles must be secured 
at the same time. 

6. How are the characters disposed of in penmanship f 

The characters should first be described, second analyzed, 

and third explained. 

7. Define theory as used in penmanship. 

Theory as applied to penmanship is a limit or measure of 






PENMANSHIP. 


27 


advancement in the art, and includes form, practice, descrip¬ 
tion, analysis and explanation. 

8. What incentives should the teacher use to excite an inter¬ 
est in teaching penmanship f 

He should keep the work within the ability of the students 
and promote only as often as necessary : Honest advancement 
excites interest. 

9. Name auxiliary essentials to good writing. 

Good ink, good pens, good paper, and time. 

10. What are the requisites for plain business writing ? 

A graceful, rapid movement, which will produce simplicity 
of form and accuracy in execution without extra flourishing. 

11. Define engrossing as used in penmanship. 

The copying or recording of matter in bold, plain, shaded 
style of script or text lettering. Sometimes called artistic 
engrossing. 

1%. Define photo-engraving. 

It is the process of making metal plates from original copy. 

13. Define the termphoto-lithographing . 

The art of transferring the original copy upon stone. 

If Define the term metronome and chirythmography. 

The former is an instrument used in teaching writing, and 
the latter is a system of teaching that part of penmanship called 
writing by means of the metronome. 


LESSON 6. 


MATERIALS. 

1. Requisites for practice. 5. Blotter. 

2. Pens and Bolder. , 6. Height of chair and desk. 

3. Paper. 7. Blackboard and charts. 

4. Ink. 

1. What shoidd the student of penmanship secure before 
beginning practice f 

He should first secure a good quality of writing material, 
which should consist of pens, holder, paper, ink, blotter, pen¬ 
wiper, chair or seat and table or desk. 

3. Describe the hind of pens and holder best suited for 
practice. 





28 


FARRIAN PENMANSHIP. 


The beginner should use a pen of medium fineness. A stiff 
pen should not be used except by persons who are in the habit 
of writing a heavy large hand. As soon as the pen begins to 
scratch, it should be laid aside and replaced by a new one. 
Either a plain, straight or oblique penholder is well suited for 
practice and all business writing. 

3. What kind of paper is best suited for practice . 

Legalcap, foolscap, or business letter is the only kind of 
paper suitable for practice, as most other paper is too narrow 
to give sufficient surface for writing. The paper should be of 
a fine flexible quality and possess a smooth surface. In the end 
a cheap outfit is always the costliest. 

Jf. Describe the best ink for practice. 

(1) one of the most important requisites to good penman¬ 
ship is good ink; (2) it should be black, not brown; (3) it should 
flow steadily and easily ; (4) it should be of such a quality that 
it will penetrate into the surface of the paper; (5) it should 
not present a glossy appearance ; (6) it should not corrode 

the pen and paper ; (7) it should be of a deep black, so that 
it will not fade or change to a light brown color. 

5. What is said of the blotter and penwiper f 

The writer should use a blotter of sufficient size and proper 
shape, so as to keep both hands off the paper. A small piece of 
chamois skin makes the best penwiper. If this cannot be 
obtained, a small piece of fine domestic should be used, as no 
student is ready for a lesson in penmanship without these 
articles. 

6. What is the proper height of the writing chair and 
desk f 

For adults, the seat should be about eighteen inches, and 
the desk about thirty inches in height. And in proportion for 
children. 

7. What is said of the blackboard and charts f 

Every schoolroom should be well furnished with plenty of 
blackboard surface, and a good set of writing and drawing 
charts. The former should be used in illustrating, describing, 
analyzing and explaining all the characters used in writing, 
while upon the latter , should be kept in plain view at all times , 
a standard set of capitals, small letters and figures showing the 
style, proportion and analysis of all the characters. 



POSITION. 


29 


LESSON 7, 


POSITION. 


1. Effect of position. 

2. Kind of position. 

3. Effect of incorrect position. 

4. Incorrect position. 

5. Left handed persons. 

6. Number of pupils to a desk. 

7. Distance of paper from the eyes. 


8. Position of body. 

9. Position of paper. 

10. Essentials of a good position. 

11. Distance between ruled lines. 

12. Philosophy of movement. 

13. Tracing and combination movement. 

14. Movement. 


1. What effect does position have upon penmanship ? 

A good natural position gives the body strength and 
power ; the writing symmetry and beauty. 

2. What does good penmanship veguire f 

It requires a good, healthy, natural, convenient and easy 
position. 

3. What is the effect of an incorrect position f 

An incorrect position leads to curvature of the spine, 
round shoulders, cross eyes, general deformity, and poor 
writing. 

Jf. Give an idea of an incorrect position . 

It is contrary to penmanship to sit with the head, neck, or 
back bent, the legs crossed, chin near the table, grasping the 
pen, bending the fingers, opening the mouth and moving the 
jaws, lips and tongue while writing. 

5. How shoidd a left handed person be taught to write f 

They should be taught the front position, and if possible, 

to write with their right hand, and then they can write with 
either hand. 

6. How many pupils can sit at the common school desk and 
maintain the correct position f 

Two pupils may sit at a double school desk, but it is best to 
use only the “ single desk.” 

7. When the body is in the correct position, how far should 
the paper be from the eyesf 

It should not exceed a distance of eighteen inches, and the 
eyes should not be nearer the writing than twelve inches at any 
t me. 




30 


FARRIAN PENMANSHIP. 


8. Give directions as to the position of body when writing. 

It should be kept erect or upright, and never allowed to 

assume a lounging position. 

9. Give directions as to the position of the paper when 
writing. 

The paper should be squarely in front, and be held in its 
place with the fingers of the left hand. 

10. What are the essentials of a good position f 

A knowledge of the correct position, trained muscles and 
natural body: 

11. On regular ruled writing paper , what is the distance 
between the ruled lines on a scale of thirds ? 

On a scale of thirds, the space between all regular ruled 
lines is considered to be four times the height of the shortest or 
minimum letters, therefore, all the capitals and small letters, 
which extend three spaces above base line, should extend only 
three-fourths the distance from one ruled line to the one above 
it; while the loop letters and capitals that extend below base line 
should extend just half the distance to the ruled line below. 

1%. Define the terms “Philosophy of movement ” and 
u Extended movements ” as employed in penmanship. 

The former is the embodiment of certain laws or principles 
which are necessary to true conception and perfect execution 
of writing. The latter are movement exercises executed with a 
regular continuous motion, and is the best means of acquiring 
power and full control of the muscles when writing. 

IS. Define the terms “ Tracing and combination movements 

Tracing movements are movement exercises consisting prin¬ 
cipally of capital letters employed as the first step to produce 
freedom of movement in writing. The latter is the combining 
of capital letters forming initials of ones name. 

Ilf,. Define the term movement as used in penmanship. 

Movement is that power which secures freedom of action 
or motion in writing, and is the central power which gives force, 
beauty and strength to penmanship. 




POSITION. 


31 


LESSON 8. 


1. Free use of the hand. 

2. Position at the desk. 

3. Position to learn. 

4. Correct position. 

6. Position to keep. 

6. Number of positions. 

7. Name of positions. 


POSITION. 

8. The best position. 

9. Standing position. 

10. Slant of characters. 

11. Hair line. 

12. Left handed writer. 

13. How to secure the correct position. 

14. Penholding, etc. 


1. ■ In writing , upon what does the free use of the hand 
depend f 

It depends upon the position of the body and manner of 
holding the pen. 

< 2. State how the writer shoidd sit at the desk. 

The writer should learn to always sit uprightly, naturally, 
easily, and keep the shoulders square. 

3. What position should first be learned? 

The correct position only should, and observed till it 
becomes natural and easy at all times. 

I When writing , what kind of a position shoidd be kept ? 

The position for writing should be a very convenient one, 
which will allow an easy, natural action of both the right and 
left arm and hand. 

5. What position should each pupil keep at the desk ? 

Each pupil should observe and keep the same position dur¬ 
ing the writing hour. 

6. How many different positions are there ? 

In all, there are four different positions employed in pen¬ 
manship. 

7. Give the name of the different positions. 

The front position, the oblique position, the right position, 
and the left position. 

8. For practice in penmanship , what is the best position ? 

The front position is not only the best for practice, but for 

all business purposes as well. 

9. What is the best position when standing and writing at 
the desk ? 

The left position is the best for book-keepers. 





32 


FARRIAN PENMANSHIP. 


10. What determines the slant of the characters in writing? 
The position of the body, arm, hand and the downward 

strokes of the characters. 

11. Define the term “ Hair line ” as used in penmanship. 

It is a very light line or curve made with a fine pen. 

1*2. Give the correct position of the body of a person who is 
addicted to writing with the left hand. 

There is no difference in the correct position, whether 
writing with the right or left hand. 

13. How can a good position and easy , rapid movement be 
secured ? 

By taking a systematic course of exercise and using the 
muscular movement. 

lj. In penmanship, what subjects naturally follow position? 
Penholding and practice on movement exercises. 



THE FRONT POSITION. 


33 




LESSON 9. 


THE FRONT POSITION. 

1. Sit facing the table. 6. Wrist above paper and table. 

2. Feet squarely upon the floor. 6. Hand rest on ring and little Angers. 

3. Arms forming a right angle. 7. Right forearm cross ruled lines. 

4. Right arm rest on muscles of forearm. 

1. Describe the front position at the table. 

(1) The writer should sit squarely facing the table, near, 
not against it ; (2) the feet should be placed squarely upon the 
floor ; (3) both arms should rest easily in front, upon the table 
forming a ri; at angle ; (4) the right arm should rest easily 
upon tip- muscular part of the forearm ; (5) the wrist should 
be kept ~iev ated a little above the paper or table ; (6) the hand 
should rest easily upon the nails of the “ring and little fingers,” 
touching the paper just below the palm of the hand ; (7) adjust 
your paper, upon which you are to write, so that your right 
forearm will cross the ruled or imaginary lines at right angle, 
keeping the paper in its proper place with the fingers of your 
left hand. The ink-well should be in front, and a little to the 
right. 

#. Illustrate the front position when writing. 


















34 


FARRIAN PENMANSHIP. 


LESSON 10. 


THE OBLIQUE POSITION. 

1. Right side near table. 5. Do not support body on arms. 

2. Arms rest upon table. 6. Right forearm cross lines at right angle* 

3. Deft arm at right angle with right. 7. Ink in front, a little to the right. 

^ Body lean a little forward. 

1. Describe the oblique position. 

(1) The right side should be near the table, but not touching 
it; (2) the right arm should rest upon the table, in an oblique 
manner, on the muscular part of the forearm ; (3) the left fore¬ 
arm should be at right angle with the right; (4) the body should 
lean a little forward; (5) care should be taken not to support 
the body with the arms ; (6) the paper should be placed in an 
oblique direction upon the table, and the right forearm should, 
cross the ruled or imaginary lines at right angles; (7) the ink 
should be placed in front, and a little to the right. 

Illustrate the oblique position when writing. 


















THE RIGHT POSITION. 


35 


LESSON 11. 


THE RIGHT POSITION. 

1. Right side near table. 5. Right arm in line with edge of table. 

2. Body erect. 6. Wrist elevate! above table. 

3. Left heel opposite right instep. 7. Paper'in line with edge of table. 

4. Feet level upon the floor. 

9 

1. Describe the right position . 

(1) The right side should be near the table, but not allowed 
to come against it; (2) the body should be kept erect; (3) the 
heel of the left foot should be just opposite the instep of the 
right; (4) both feet should sit level upon the floor ; (5) the 
right arm should rest upon the muscular part of the forearm, 
and on a line with the edge of the table ; (6) the wrist should be 
elevated, while the right hand slides along upon the nails of the 
ring and little fingers ; (7) the paper should be in line with the 
edge of the table, while the left forearm should be parallel to 
the ruled or imaginary lines upon the paper, which should be 
kept in place with the fingers of the left hand. 


LESSON 12. 


THE LEFT POSITION. 

1. Left side near table. 5. Paper parallel with table. 

2. Forearm upon table. 6. Right arm rest upon muscles of forearm. 

3. Head turned a little to the left. 7. Wrist elevated above paper or table. 

4. Body lean lightly upon left arm. 

1. Describe the left position. 

(1) Sit with the left side to the table ; (2) the forearm 
should be placed upon the table, about three inches from the 
edge, and on a line with it; (3) the head should be turned a 
little to the left; (4) the body should lean easily upon the left 
arm ; (5) the paper should be parallel to the end and side of the 
table ; (6) the right arm should rest easily upon the muscular 
part of the forearm ; (7) the wrist should be elevated a little 
above the paper, and the hand slide easily upon the nails of the 
“ring and little fingers,” to constitute an easy movement. This 
is a good position when standing, and writing at the desk. 






36 


FARRIAN PENMANSHIP. 


LESSON 13 


PENHOLDING. 


1. Take the pen between thumb, middle 5. End of holder point to corner of 


right shoulder. 


and index fingers. 

12. Cross middle finger at root of nail. 
3. Cross index finger near knuckle. 


6. Hand rest on nails of ring and little 
fingers. 


4. End of thumb touch holder near first 7. Point of pen squarely upon paper, 
joint of finger. 

1. Describe the correct method of holding the pen. 

(1) Take the penholder between the thumb and middle finger, 
about an inch from the point of the pen, letting the index finger 
press lightly upon the top of the holder, to hold it steady ; 
(2) it should cross the middle finger at the upper root of the 
nail; (3) it should cross the index finger near the knuckle ; 
(4) the end of the thumb should touch the holder near the first 
joint of the index finger ; (5) the end of the holder should point 
toward the corner of the right shoulder ; (6) the hand should 
rest on the nails of the ring and little fingers, keeping the wrist 
above the paper, and constituting an easy movement; (7) the 
point of the pen should always come squarely upon the surface 
of the paper. 

2. Illustrate the correet position of the pen, fingers, hand 
and wrist when writing. 







THE WHITING 1 EXERCISE 


3T 


LESSON 14 


THE WRITING EXERCISE. 


1. Opening exercise. 

2. Closing exercise. 

3. Number of movements. 

4. Upward, downward and horizontal. 

5. Stroke in penmanship. 

6. Compound or wave line. 

7. Kinds of strokes. 


8. Height in penmanship. 

9. Length in penmanship. 

10. Full convex or concave curve. 

11. Full compound curve. 

12. Full straight oblique line. 

13. The writing exercise. 

14. Directions for securing order. 


1. Give the rule for opening a writing exercise. 

(1) Assign next lesson ; (2) recite lesson ; (3) take position ; 
(4) arrange copy, ink and paper ; (5) open ink; (6) take pens 
(7) adjust arms ; (8) all write. 

< 2. Gi/ve the rule for closing a writing exercise. 

(1) Criticism ; (2) close ink ; (3) wipe pens ; (4) lay aside 
pens; (5) close books; (6) pass pens ; (7) pass books; (8) 
dismissal. 

3. IIow many movements are employed in penmanship f 

There are four movements used in writing ; viz : (1) the 
finger movement ; (2) the muscular movement; (3) the freearm 
movement; and (4) the combined movement. 

f Define the terms upward , downward and horizontal or 
lateral stroke as employed in penmanship. 

A stroke is a distinct line, produced with the point of tho 
pen or other instrument for writing, in an upward, downward,, 
and horizontal, or lateral movement. 

5. State where a stroke terminates in penmanship. 

A stroke terminates at the center of a turn, point of an 
angle, or at the end of a line. 

6. Define the term compound curve or wave line as 
employed in pmmanship. 

A wave line is the union of the convex and concave curves, 
or the reverse, made with one stroke of the pen, without the 
aid of a turn. 

7. IIow many different kinds of strokes are employed in 
writing f 




38 


FARRIAN PENMANSHIP. 


There are nine; viz: upward convex, upward concave, 
upward straight; downward convex, downward concave, down¬ 
ward straight; horizontal convex, horizontal concave, and hori¬ 
zontal straight. 

8. Define the term height as used in penmanship. 

The term height is applied to those letters which do not 
extend below base line. 

9. Define the term length as used in penmanship. 

The term length is applied to those letters that do extend 
below base line. 

10. Define the term full convex or concave cu/rve as used in 
penmanship. 

A full convex or concave curve is a curve which is made 
three spaces in height or length. 

11. Define the term full compound curve or wave line. 

A full compound curve or wave line is a curve which is 
made five spaces in length. 

12. Define the term full straight oblique line as used in 
penmanship. 

A full straight oblique line is a line which is made five 
spaces long. 

13. State how the writing exercise should begin and end. 

The writing exercise should begin and end in an orderly 
manner. 

If Give directions for securing order and regularity during 
the writing exercise. 

The teacher should give the necessary drill to secure the 
desired order. Give signals by taps of call bell or by counting, 
according to the discretion of the teacher. The pupils should 
be taught to obey the signals at all times silently and 

PROMPTLY. 





THE FINGER MOVEMENT. 


39 


LESSON 15. 


THE FINGER MOVEMENT. 

1. Action of thumb, index and middle 5. Used with muscular movement. 

fingers. 6. Practice with small end of holder. 

2. Employed in short strokes. 7. Illustrations. 

3. Not suited for business. 

4. Used when great precision is re¬ 

quired. 

1. Describe the finger movement and illustrate . 

(1) the finger movement is the action of the thumb, index 
and middle fingers ; (2) it is employed principally in forming 
short upward and downward strokes ; (3) it is not suited for 
business writing; (4) it should not generally be used, except for 
card writing, and where great precision is required ; (5) some 
fine penmen use it to advantage with the muscular movement; 
(6) it should first be practiced with the small end of the pen¬ 
holder, until the movement is learned. 

7. Illustrate and practice the finger movement . 


LESSON 16. 

THE MUSCULAR MOVEMENT. 

1. Action of forearm. 6. Used in upward, downward and hori- 

Wrist, hand and fingers. zontal strokes. 

3. Wrist elevated. 6. Nails of ring and little fingers glide 

4. Hand slides on nails of ring and little in lines. 

fingers. 7. Illustrations. 

1. Describe the muscular movement and illustrate . 

(1) The muscular movement is the action of the forearm 
upon its regular muscular rest near the elbow; (2) the wrist, 
hand and fingers should be held firmly to check their indepen¬ 
dent action ; (3) the wrist should be elevated above the paper ; 
(4) the hand should slide upon the nails of the ring and little 
fingers; (5) it may be employed in making strokes in any 

direction : namely, upward, downward and horizontally; (6) 







40 


FARRIAN PENMANSHIP. 


the nails of the ring and little fingers should glide in corres¬ 
ponding lines to those formed by the pen. 

7. Illustrate and practice the muscular movement. 



LESSON 17. 


THE FREEARM MOVEMENT. 

1. Free action of arm from shoulder, 5. Regulate the strokes by music or 

2. Entire arm raised above paper. counting. 

3. Hand slides on nails of ring and 6. Should be employed to develop tho 

little fingers. muscles. 

4. Employed in forming large capitals. 7. Illustrations. 

1. Describe thefreearm movement and illustrate. 

(1) The freearm movement is the free action of the entire 
arm from the shoulder; (2) the entire arm should be raised a 
little above the table ; (3) the hand should slide on the nails of 
the ring and little fingers ; (4) this movement may be used in 
forming large capitals ; (5) in practice, the strokes should be 
regulated by music or counting ; (6) it should be employed 
frequently, as it secures a free action of the muscles in the 
shoulder, arm and fingers. 

7. Illustrate and practice the freearm movement , direct 
and inverted ovals. 












THE COMBINED MOVEMENT. 


41 


LESSON 18. 


TIIE COMBINED MOVEMENT. 


1. United action of shoulder, arm and 

Angers. 

2. Arm rest on muscles of forearm. 

8. The muscular part of forearm the 
centre of action. 

4. Hand glides on tips of ring and little 
Angers. 


5. Fingers should extend and contract. 

6. Union of Anger, muscular and free- 

arm movements. 

7. Illustrations. 


1. Describe the combined movement and illustrate. 

(1) The combined movement is the united action of the 
shoulder, arm and fingers ; (2) the arm should rest on the fleshy 
or muscular part of the forearm; (3) the arm should act on the 
muscular part of the forearm as a centre ; (4) the hand should 
glide on the tips of the ring and little fingers ; f5) the thumb, 
index and middle fingers should extend and contract in making 
upward and downward strokes; (6) the combined movement is 
a union of the finger, muscular and freearm movements, in which 
we employ the muscles of the shoulder, forearm and fingers. 

7. Illustrate and practice the combined movement. 




LESSON 19. 


LINES. 

1. Lines. 

2. Kind of lines. 

3. Name of lines. 

4. Curved lines. 

6. Convex curved line 
6. How it is made. 

1. Define a line as used in penmanship. 

A line is the path of a moving pen or other instrument 
for writing. It is the path of a moving dot. 

2. How many lands of lines are there employed in pen¬ 
manship f 


7. Concave curved line. 

8. Ho w it is made. 

9. Straight line. 

10. How it is made. 

11. Illustrations. 


4 






42 


FARRIAN PENMANSHIP. 


There are three kinds of lines. 

3. Name the different kinds of lines employed in pen¬ 
manship. 

There are two curved lines, and one straight line. 

Jf. What are the curved lines called in penmanship f 

They are called convex and concave curved lines. 

5. Define a convex curved line as used in penmanship. 

A convex curved line is a line which bends in a round or 
convex form to the left, or above, a straight, ruled or imagin¬ 
ary line with which it unites at both ends. 

6. Describe how a convex curved line is made. 

To form a convex curved line, the point of the pen should 
move in a rounding form to the left, or above, a ruled or imagin¬ 
ary straight line, with a continuous change of direction. 

7. Define a concave curved line as used in penmanship. 

A concave curved line is a line which bends in a hollow or 
concave form to the right, or below a ruled or imaginary straight 
line with which it unites at both ends. 

8. Describe how a concave-curved line is made. 

To form a concave curved line, the point of the pen should 
move to the right, or below a ruled or imaginary straight line, 
with a continuous change of direction. 

9. Define a straight line as used in penmanship. 

A straight line is a line which does not bend in any direction. 

10. Describe how a straight line is made. 

To form a straight line, the point of the pen should move 
without any change of direction. 

11. Illustrate the three different kinds of lines employed in 
penmanship , and practice the copy. 




LINES. 


43 


LESSON 20. 


PARALLEL LINES. 

1. Position of lines. 5. Parallel lines. 

2. Oblique lines. 6. Ruled lines. 

3. Horizontal lines. 7. Parallel lines illustrated. 

4. Straight and Vertical lines. 

1. In penmanship, how many positions may lines occupy f 

Each line may occupy two positions : namely, oblique and 
horizontal. 

2. In penmanship, when are lines called oblique f 

Lines are called oblique when they are made slanting. 

3. In penmanship, when are lines horizontal f 

Lines are called horizontal when they are made level, that 
is, when one end is of the same hight as the other. 

I When is a line straight f Vertical f 
A line is straight when it is not curved in any part or direc¬ 
tion. Vertical, when it leans neither to the left nor to the right. 

5. Define parallel lines as used in penmanship. 

Parallel lines are lines which are formed, their full length, 

the same distance apart. 

6. Define the term 46 Ruled lines ” as employed in pen¬ 
manship. 

Ruled lines are the real or imaginary horizontal and vertical, 
parallel lines, used to guide the eye in writing. 

The former is used to illustrate the hight of the characters, 
and the latter to show their width upon the writing staff. 

7. Illustrate the different kinds of parallel lines, and 
practice the copy. 





44 


FARRIAN PENMANSHIP. 


LESSON 21. 


ANGLE. 


1. Joining of two lines in a point. 

2. Three kinds of angles. 

3. Right angle. 

4. Acute angle. 


5. Obtuse angle. 

6. Acute angle used in penmanship. 

7. Illustrations. 


1. Define angle as used in penmanship. 

Angle is the joining of two lines in a point. 

< 2. How many different hinds of angles are there ? 

There are three, viz : Right, acute and obtuse angle. 

3. Define a right angle. 

A right angle is the joining of two straight lines which 
form what is called a square point. 

Jf. Define an acute angle. 

An acute angle is the joining of two straight lines which 
form a sharp point. 

5. Define an obtuse angle. 

An obtuse angle is the joining of two lines which form a 
slight point. 

6. Which angle is employed in penmanship f 

A modified form of the acute angle. 

8. Illustrate the right angle , acute angle and obtuse angle y 
respectively. 









MEASUREMENT. 


45 


LESSON 22. 


MEASUREMENT. 

1. Definition of measurement. 5. Number of degrees in a quadrant. 

2. How angles are measured. 6. Number of degrees in a circle. 

3 . Definition of circle. 7. Illustration. 

4. Division of a circle. 

1. Define measurement as used in penm anship. 
Measurement includes the art and act of measuring. 

2. How are angles measured in penmanship f 
Angles are measured by means of a circle. 

3. Define the term circle. 

A circle is a curved line, every part of which is equally 
distant from a point within, called the centre. 
f How is a circle divided in penmanship f 
It is divided into four equal parts, called quadrants or 
quarter of a circle, each of which is sub-divided into equal 
parts, called degrees. 

5. How many degrees are there in a quadrant f 
In a quadrant there are 90°. 

6. How many degrees are there in a circle f 

In a circle there are four times 90° which are 360°. 

7. Illustrate a circle , and draw a quadrant for measuring 
the connective slant and main slant of writing. 









w 


FARRIAN PENMANSHIP. 


LESSON 28 


SLANT. 


1. Horizontal lines of the quadrant. 

2. Vertical lines of the quadrant. 

8. Divisions of the quadrant. 

4. Two slants, main and connective. 

5. Main slant defined. 


7. Connective slant defined. 

8. The horizontal lines. 

9. Difference in slant and slope. 

10. Autograph defined. 

11. Illustrations. 


0. Slant of characters. 

1. What position does the horizontal line of the quadrant 

occupy as measured by the circle f 

It occupies a position of no degrees or a level position. 

It is called the base or base line. 

%. What position does the upright or vertical line of the 
quadrant occupy as measured by the circle f 

It occupies a position or angle of 90°. 

3. What slant has a line when drawn half the distance 
between the horizontal and vertical lines of a quadrant ? 

It has one-half of 90° which is a slant of 45°. 

h- How many hinds of slant are employed in penmunship f 

There are two kinds of slant, viz : Main slant and connec¬ 
tive slant. 

5. Define main slant as used in penmanship. 

Main slant is a slant of 52°, and is so called because most of 
the main or down strokes should be made on this slant. 

6. In what position should the characters used in penman¬ 
ship be written f 

They should lean to the right with the main slant of 52°. 

7. Define connective slant as used in penmanship. 

Connective slant is one-half that of main slant or 26°, and 

is so called because most of the main or down strokes are con¬ 
nected by lines which are made on a slant of 26°. 

6. What is said of lines which are made horizontally ? 

Curved and staraight lines which are made horizontally, 
are level, and consequently have no slant. 

9. State the difference , if any , in the terms slant and slope. 

There is no difference. They both mean the same thing. 







SLANT. 


47 


10. What is aii autograph ? 

It is an original signature or manuscript in one’s own hand¬ 
writing. A person’s name. 

11. Illustrate main slant or a slant of 58°, and connec¬ 
tive slant or a slant of %6°. 



LESSON 24. 


FORM. 

1. How lines are combined. <>. How it is made. 

2. Angular joinings. 7 . Oval turn. 

3. Angular turn. 8. .Loop. 

4. Kinds of turns. 9. Loop and cross 

5. Short turn. 10. Turns illustrat d. 

1. How are lines combined in forming the characters used 
in writing f 

Lines are combined by angular joinings, by turns and loops. 

2. Define an angular joining as used in penmanship . 

An angular joining is the uniting of two lines, forming a 
modified acute angle. 

3. Describe how an angular turn or joining is made. 

An angular turn or joining is made by uniting two lines 
or strokes in an angular manner, by quickly checking the action 
or speed of the pen, at the end of a line and joining it in a point 
with the next stroke. 

f How many hinds of turns are employed in penmanship f 

There are two kinds, viz.: short turns and oval turns. 

5. Define a short turn as used in penmanship. 

A short turn is made without checking the speed or action 
of the point of the pen. 

6. Describe how to make- a short turn when writing. 









48 


FARRIAN PENMANSHIP. 


The pen should pass quickly and as short as possible from 
one line to the next without stopping the speed of the pen. 

7. Define an oval turn as used in penmanship. 

An oval turn is one in which the end of the curved line is 
continued so as to unite with the next line or stroke without 
checking the speed and action of the pen. 

8. Define a loop as used in penmanship. 

A loop is the crossing of two lines, or strokes united at one 
end, of which one may be convex, concave or straight. 

9. Describe how a loop is formed in writing. 

A loop is formed with lines connected at one end by a short 
turn, and then forming what is called a cross. 

10. Illustrate upper and, lower angular turns or join- 
• ings, short turns , oval turns and loop , in order , and practice the 

copy. 



LESSON 25. 


THE OVALS AND STEM. 


1. Oval. 

2. Kinds of ovals. 

3. Direct oval. 

4. Direct oval described. 

5. Inverted oval. 

0. Inverted oval described. 


7. Modified oval. 

8. Modified oval described. 

9. The capital stem. 

10. Capital stem described. 

11. Parts of capitals illustrated 


1. Define the term oval as used in penmanship , 

An oval is an elliptical character which has a form similar 
to that of an egg, with both ends rounded nearly alike. 

2. How many hinds of ovals are employed in penmanship f 
There are three kinds, viz.: Direct oval, inverted oval and 

modified oval. 

3. Define a direct oval as used in penmanship. 

A direct oval is an oval made in its regular form on a main 
slant of fifty two degrees. 








THE OVALS AND STEM. 


49 


Jf. Describe the direct oval as used in penmanship f 

It begins at the top with a convex curved line, which is 
brought down to its base and there unites with a concave curved 
line, which is made upward to the height of the first line and 
-completes the character. 

5. Define the term inverted oval as used in penmanship. 

An inverted oval is an oval which has been reversed and 
turned upside down, making its upper end point downward. 

6. Describe the inverted oval as used in penmanship. 

It begins at the base with a convex, curved line which is 
made upward to the top and there unites with a concave curved 
line which is brought down to its base and completes the char¬ 
acter. 

7. Define the modified oval as used in penmanship. 

It is the same as an inverted oval except the last stroke is 
modified or changed to a compound curve or wave line. 

8. Describe the modified oval as used in penmanship. 

It begins at base with a convex curved line which is made 
upward to the top and there unites with a compound stroke or 
line which is brought down to base and completes the character. 

9. Define the term capital stem as used in penmanship. 

It is a combination of curved lines, and is so called because 

it is used in forming most of the capital letters. 

10. Describe the capital stem as used in p>enmanship. 

The capital stem begins at the top with a convex curve 
which unites with a concave curve forming a compound stroke 
or wave line. To this is joined a convex curve which is made 
upward, forming an inverted oval one and a half spaces high, 
which is made on a main slant of thirteen degrees (13°), and 
completes the character. 

11. Illustrate the direct oval , the Inverted oval , the modi¬ 
fied oval and the capital stem , in order, and practice the copy. 




50 


FARRIAN PENMANSHIP. 


LESSON 26 


THE THREE PRINCIPLES. 


1. Elements. 

2. Principles. 

3. No. of principles. 

4. Principles numbered. 

5. Name of principle one. 

6. Name of principle two. 

7. Name of principle three. 


12. Principles are taken from what ? 

13. Definition of convex, concave and 


9. Definition of describe. 

10. Definition of analysis. 

11. Definition of explain. 


14. Principles illustrated. 


straight. 


8. How the Farrian system is taught. 

1. Define elements as used in penmanship. 

Elements are the principles employed in writing. 

2. Define principles as used in penmanship. 

Principles are the constituent parts of the characters em¬ 
ployed in penmanship. 

3. How many principles are there according to the Farrian 
system of penmanship? 

There are three principles. 

If. Humber the three principles in order. 

Principle one, principle two and principle three. 

5. Give descriptive name of the principle one. 

Principle one is called a convex curved line. 

6. Give descriptive name of the principle two. 

Principle two is called a concave curved line. 

7. Give descriptive name of the principle three. 

Principle three is called a straight oblique line. 

8. How is the Farrian system of penmanship taught ? 

By principles, illustrations, practice, description, analysis 

and explanation. 

9. Define describe as used in penmanship. 

To give a description of a character in words according to 
the general rule. 

10. Define analysis as used in penmanship. 

Analysis is the separation of a character into its parts, 
elements or principles according to the general rule. 

11. Define explain as used in penmanship. 

To give a minute description of the combination of princi¬ 
ples forming a character according to the general rule. 

12. From what are the three principles taken ? 




THE THREE PRINCIPLES. 


51 


They are taken from the oval and straight line. 

13. Define convex , concave and straight in order. 

Convex, rounding; concave, hollowing; straight, not 
curved. 

Uf. Illustrate the three principles and practice the copy. 

1% ^riirri|rlfs: 



LESSON 27. 


THE WRITING STAFF. 

1. The staff. 6. Intermediate lino. 

2. Staff used in penmanship. 7. Topline. 

3. Name of lines of writing staff. 8. Intermediate line helow. 

4. Baseline. 9. Headline helow. 

5. Headline. 10. Staff and lines illustrated. 

1. Describe a staff as used in penmanship. 

A staff consists of six lines and five spaces which are made 
horizontally and parallel to each other. 

< 2. For what is the staff used in penmanship f 
It is used to measure the height of the characters and guide 
the eye in writing. 

3. Give the name of the different lines of the writing staff. 
They are called base line, head line, intermediate line, top 
line, intermediate line below and head line below. 

If. Define base line. 

Base line is the ruled or imaginary line upon which the 
characters rest or are supposed to rest. 

5. Define head line. 

Head line is the ruled or imaginary line to which the min¬ 
imum or one space characters extend. 

6. Define intermediate line. 

Intermediate line is the ruled or imaginary line to which 
the stem or two space characters extend. 

7. Define top line. 





52 


FARRIAN PENMANSHIP. 


Top line is the ruled or imaginary line to which the capital 
characters extend. 

8. Define intermediate line below. 

Intermediate line below is the ruled or imaginary line below 
base line, to which the small character p extends. On the writ¬ 
ing staff it is one space below base line. 

9. Define head line below. 

Head line below is the ruled or imaginary line below base 
line, to which the five space characters extend. On the writing- 
staff, it is two spaces below base line. 

10. Illustrate and draw the writing staff. 



LESSON 28. 


SPACING. 


1. 

Regular spacing. 

7. 

Rule for exception. 

2. 

Unit for spacing. 

8. 

Spacing capital and small letters. 

3. 

Rule for spacing. 

. »• 

Space between words. 

4. 

Space between letters. 

10. 

Words composed of small letters. 

5. 

Rule for combining small letters. 11. 

Space between sentences. 

6. 

Exception to rule. 

12. 

Space between figures. 


1. Upon what does 

regular 

uniform spacing chiefly de- 

pc 

nd? 




It depends upon a correct position and a regular uniform 
movement. 


0 . What is the unit for measuring the hight or length 
■and width of the characters?. 

The height of the small letter i which is called one space. 

3. Give the rule for combining and spacing small letters in 
writing. 

Let the hand glide on the nails of the ring and little fingers 
and assist it with the muscles of the thumb, middle and index 
fingers in forming and connecting the lines. 










SPACING. 


5& 


L , TFAtfi should l)e the space between letters of the same 

word f 

Letters of the same word, when formed, should each be one 
space apart respectively. 

5. Give the rule for combining small letters in a word. 

To connect letters in a word extend the connecting line one 
and one-fourth of a space to the right of the last letter formed 
at the left. 

6. Are there any letters which cannot be connected by this 
ride f 

There are four, viz., a, d, g and q. 

7. Give the ride for connecting a, d, g and q. 

To connect the small letters a, d, g and q, extend the con¬ 
necting line or stroke two spaces to the right of the last letter 
formed on the left. 

8. Give the rule for spacing , when small letters do not con¬ 
nect with the capitals. 

The rule is, begin the small letters one-fourth of a space 
to the right of the capital. 

9. What should be the space between words ? 

The space between words should be twice the space be¬ 
tween letters or two spaces. 

10. Give the rule for spacing between words which are com¬ 
posed of small letters only. 

The first stroke of the first letter of a word should begin 
on base lin 3 two spaces to the right of the last down stroke of 
the letter of the preceding word. 

11. Give tie rule for spacing between sentences. 

The space between sentences should be twice the space be¬ 
tween words or four spaces. 

12. Give the rule for spacing between figures. 

The space between figures should be the same as between 
letters or one space. 



54 


FARRIAN PENMANSHIP. 


LESSON 29, 


SHADING. 


1. The pen. 

2. Light Lines. 

3. Shades 

4. Three forms, 
o. Top shade. 

t>. How it is made. 
7 Middle Shade. 


8. Double letters. 

9. Light and shade. 

10. Light strokes. 

11. Minimum letters. 

12. Capital letters. 

13. Shading the figures. 

14. Keep shade from loops. 


1. Describe a pen. 

A pen is a pointed metal instrument used for writing with 
a fluid called ink. 

• 2. Describe how to make light lines. 

Move the pen point lightly on the paper without opening 
its teeth. 

3. Describe how shades are made. 

Press on the pen point so as to open its teeth and then 
lighten the pressure so as to allow them to slowly return to their 
place, so as to make the shade decrease uniformly. 

A How many different forms of shade are employed in 
writing f 

There are three forms of shade, viz.: Top shade as in 
small t ; base shade as in small p ; and middle shade as in cap¬ 


ital O. 


5. Describe how the first or top shade is formed. 

Press on the point of the pen so as to open its teeth 
squarely and then lighten the pressure toward base. 

6. Describe how the second or base shade is formed. 

Begin with a light pressure near the middle of the stroke 

and continue to increase the pressure to the end of the stroke or 
line, raising the pen from the paper at once. 

7. Describe the third or middle shade , and how it is made. 
It is made by increasing the pressure on the point of the 

pen and opening its teeth steadily toward the middle and then 
slowly decreasing the pressure to the end of the stroke. 

8. Give the ride for shading when a letter is doubled or 
repeated. 

When a letter in a word is doubled or repeated, only the 
first should receive a shade. 





SHADING. 


55 


9. How can. the proper light and shade of the characters 
used in penmanship be acquired f 

It can be quickly acquired by tracing well written copies 
with a dry pen, naming the strokes light and shade as they 
occur in the copy. 

10. Describe how to make a light stroke. 

Let the pen glide lightly on the paper without pressure. 

11. Give the rule for shading the minimum letters. 

The minimum letters are generally made without shade. 

12. Give the general rule for shading the capitals. 

The capital letters are generally shaded only upon one 
stroke, which is usually the main stroke. 

13. Give the rule for shading the figures. 

The figures should be shaded lightly and uniformly. 

If Give the general rule for shading all the characters. 

Always keep the shade away from loops and crosses. 


LESSON 80. 


THE FIGURES CLASSIFIED. 

1. The characters. 5- Stem figures. 

2. Height of figures. 6. Why so called ? 

3. Classification. 7 Figures illustrated. 

4. Oval figures. 

1. How are the characters employed in penmanship di 
vided f 

They are divided into three classes, viz. : figures, small 
letters and capital letters. 

2. What is the hight of the figures f 
They are each one space high. 

3. How are the figures dividedf 

They are divided into two classes according to their form, 
viz. : oval figures and stem figures. 

f Nam e the oval and stem figures in order. 

The oval figures are : fT iT 


The stem figures are : / fiffi f ^ 











56 


FARRIAN PENMANSHIP. 


5. What is the width of the figures respectively ? 

The width of the figures vary from the width of a line to 
one-half space. 

6. Why are the oval and stem, figures so called f 
Because the oval in the former and the stem in the latter 

form the most prominent part in their formation. 

7. Illustrate the figures in order , and practice the copy. 

~y; 1I3ZA # d T- 7 x I. 


LESSON 31. 


THE SMALL LETTERS CLASSIFIED. 


]. 

Classification. 

7. 

Why so called. 

2. 

Hight of letters. 

8. 

Illustration. 

3. 

Minimum letters. 

9. 

Loop letters. 

4. 

Why so called. 

10. 

Why so called. 

5. 

Illustration. 

11 . 

Illustration. 

6. 

Stem letters. 




1. IIow are the small letters divided f 

They are divided into three classes, viz.: minimum letters* 
stem letters and loop letters. 

( 2. What is the hight above base line of each class of 
small letters , respectively f 

The minimum letters are one space, stem letters two spaces 
and the loop letters three spaces high, respectively. 

3. How many minimum letters are there f 

There are fourteen including the practical r. 

if. Why are the minimum letters so called? 

Because minimum means the smallest and these letters are 
the shortest, hence the name. 

5. Illustrate the minimum letters and practice the copy. 









THE SMALL LETTERS CLASSIFIED. 


57 


6. How many stem letters are there f 

There are four stem letters, viz.: t, d, p and q. 

7. Why are the small stem letters so ealled f 

Because the straight line or small stem is the most prom¬ 
inent part in their construction and formation. 

8. Illustrate the stem letters in order, and practice the copy . 



9. IIow many loop letters are there f 

There are ten including long s. 

10. Why are the loop letters so called f 

Because their most prominent part is formed with a loop. 

11. Illustrate the loop letters in order , and practice the copy . 










V v v // V // 


LESSON 82. 

THE CAPITAL LETTERS CLASSIFIED. 

1. Iliglit above base line. 7. Why so called. 

2. Capitals which extend below base. 8. Oval letters illustrated. 

3. Length below base line. 9. Stem letters. 

4. Loop letters. . 10. Why so called. 

6. Classification. 11. Stem letters illustrated. 

6. Oval letters. 

1. What is the hight of the capital letters above base line f 
Each extends three spaces above base line or three spaces 

high respectively. 

2. How many capital letters extend two spaces below base 
line f Name them. 

There are three, viz.: J, Y and Z. 

3. What is the length of capital J , T and Z f 

They are each five spaces long, three spaces above base 
line, and two spaces below base line. 

















.58 


FARRIAN PENMANSHIP. 


f 'Which class of the small letters extend three spaces above 
base line as the capital letters f 

The loop letters, all of which extend three spaces above base 

line. 

5. How are the capital letters divided f 

The capital letters are divided into two classes, viz. : the 
oval letters and capital stem letters. 

6. How many oval letters are there f 

There are eleven, viz. : O, E, D, C, X, W, Q, Z, V, U 
and Y. 

7. Why are the oval letters so called f 

Because the oval is the most prominent part in their forma¬ 
tion. 

8. Illustrate the oval letters in order , and practice the copy. 



9. How many capital stem letters are there f 

There are sixteen including the character &. 

10. Why are the capital stem letters so called f 

Because the capital stem is the most prominent part in 
their formation. 

11. Illustrate the capital stem letters and practice the copy. 































THE PRINCIPLES. 


59 


LESSON 88. 


©je ‘flrittriplHt. 


1. Principle one — 

(1) Convex line. 

(2) Left curve of oval. 

(3) Rounding surface. 

(4) Convex from left and top. 

(5) Connective slant. 

(6) Slant of 26 degrees. 

(7) Made in three ways, viz: 
Upward, downward and hori¬ 
zontally. 

:2. Principle two — 

(1) Concave line. 

(2) Right curve of oval. 

(3) Hollow surface. 

(4) Concave from left and top. 

(5) Connective slant. 


(6) Slant of 26 degrees. 

(7) Made in three ways, viz: 
Upward, downward and hori¬ 
zontally. 

3. Principle three— 

(1) Straight line. 

(2) Made slanting. 

(3) Oblique surface. 

(4) Slanting and level surface. 

(5) Main slant. 

(6) Slant of 52 degrees. 

(7) Made in three ways, viz: 
Upward, downward and hori¬ 
zontally. 

4. Principles illustrated. 


1. Describe the Principle One. 

(1) Principle one is a convex curved line. 

(2) It is the first stroke or left curve of the oval. 

(3) It is so named because it presents to the eye the round 
or convex surface of an arc or oval. 

(4) It presents its convex surface to the eye from the left 
of a sheet of paper or other writing material, when made upward 
or downward, and from the top when made horizontally. 

(5) It should form the connective slant of all the characters 
in which it is used. 

(6) When it is made upward or downward, as in the small 
letters, it should always be made on the connective slant of 26 
degrees. 

(T) It is made in three different directions, viz.: upward, 
downward and horizontally. 

Describe the Principle Two. 

(1) Principle two is a concave curved line. 

(2) It is the second stroke or right curve of the 
oval. 






60 


FARRIAN PENMANSHIP. 


(3) It is so named because it presents to the eye the hollow 
or concave surface of an arc or oval. 

(4) It presents its concave surface to the eye from the left 
of a sheet of paper or other writing material when it is made 
upward or downward and from the top when made horizontally. 

(5) It should form the connective slant of all the characters 
in which it is used. 

(6) When it is made upward or downward, as in the small 
letters, it should always be made on the connective slant of 26 
degrees. 

(7) It is made in three different directions, viz.: upward, 
downward and horizontally. 

3. Describe the Principle Three. 

(1) Principle three is a straight oblique line. 

(2) It is simply a straight line made slanting. 

(3) It is so named because it presents to the eye a straight 
oblique surface, from the left of a sheet of paper or other writ¬ 
ing material. 

(4) It presents its slanting surface to the eye from the left 
of a sheet of paper or other writing material when it is made 
upward or downward and a level surface when made horizon¬ 
tally. 

(5) It should form the main slant of all the characters in 
which it is employed, governing their slant entirely. 

(6) When it is made upward or downward it should always 
be made on the main slant of 52 degrees. 

(7) It is made in three different directions, viz,: upward, 
downward and horizontally. 

-I- Illustrate the three different directions in which each of 
the Three Principles may be made in the formation of the 
characters , used in penmanship. 




3 //— 



FARRIAN GENERAL RULES. 


61 


LESSON 84 


FARRIAN GENERAL RULES. 


1. Rule I— 

(1) Where character begins. 

(2) Name of curves or lines. 

(3) Where it ends. 

(4) Locate its shade. 

(5) Hight or length. 

(6) Width in spaces. 

(7) Analysis. 


2. Rule II. 

(1) Width of its parts. 

(2) Width, length, loop and cross 

(3) Upper turns or joinings. 

(4) Name of its shade, if any. 

(5) Name of its lower turns. 

(6) Hight or length of its strokes. 

(7) Width and hight or length. 


1. Give the rule, in order, for describing and analyzing 
the seventy characters employed in plain penmanship. 


RULE I. 


1. State where the character begins . 

2. Give name of the curves or lines which complete it. 

3. State inhere it ends. 

Jf. Give number and locate its shade, if any. 

5. Give its hight or length in spaces. 

6. Give its width in spaces. 

7. Analyze it. 

2. Give the rule, in order, for explaining the characters. 


RULE II. 


1. Give the width of the different parts of the character. 

2. Givethe width and length of loop, if any, andlocateits cross. 

3. Give the number and name of its upper turns or joinings. 
Jf. Give the name of its shade , if any, and describe it. 

5. Give the number and name of its lower turns or joinings. 

6. Give the hight or length of its parts, lines or strokes, in order. 

7. Compare the width and hight, or length, of the character. 




62 


FARRIAN PENMANSHIP. 


LESSON 35. 


THE ZERO. 


1. Describe and analyze the zero (0) according to Buie I. 
(1) The zero (0) begins at head line. 


(2) A downward convex curved line, and upward concave 
curve, completes the zero 0. 

(3) It ends at head line. 

(4) One shade on first stroke. 

(5) One space high. 

(6) One half space wide. 

(7) Principle 1 and 2 forms the zero 0. 

2. Write and explain the zero according to Buie II. 

~~fiT (1) Its two strokes are about one-half space apart 

(2) No loop or cross. 

(3) One upper oval turn. 

(5) One lower oval turn. 

(4) Middle shade heaviest near the middle of the stroke. 

(6) Each stroke is the same hight, one space. 

(7) Its width is equal to of its hight. 


LESSON 36. 


THE FIGURE ONE. 

1. Describe and analyze the figure 1 according to Bide-1. 

(1) The figure 1 begins at head line. 

(2) A downward straight oblique line, completes the figure 1. 

(3) It ends on base line. 

(4) One shade, heaviest at the bottom. 

(5) One space high. 

(6) The width of one stroke wide. 

(7) Principle 3 forms the figure 1. 

2. Write and explain the figure 1 according to Bide II 

/ (1) It is formed by one downward stroke of the pen. 







THE FIGURE ONE. 


63 


No loop or cross. 

No upper turn. 

No lower turn. 

Base shade, heaviest at base. 

It is made at one stroke, which is one space in hight. 
Its width is equal to one-fifth of its height. 


LESSON 37. 


THE FIGURE TWO. 

Describe and analyze the figure 2 according to Rule L 

(1) The figure 2 begins at head line. 

A downward concave curved line, upward convex, 
downward concave and horizontal compound curve, completes- 
the figure 2. 

(3) It ends near base line. 

(4) One shade on the third stroke. 

(5) One space high. 

(6) space wide. 

(7) Principle 2, 1, 2, 1 and 2 forms the figure 2. 

2. Write and explain the figure 2 according to Rule 1L 
Jpfi (1) Its curves are about one-third of a space apart. 

(2) One horizontal loop at base. 

(3) One upper oval turn. 

(5) Two lower oval turns. 

(4) Middle shade, heaviest near the middle of main stroke. 

(6) First part >2 space high, last part >4 space from base. 

(7) Its width is equal to its height. 


( 2 ) 

( 3 ) 
( 5 ) 

( 4 ) 
( 3 ) 
(<) 


1 . 


m 


( 2 ) 






64 


FARRIAN PENMANSHIP. 


LESSON 38. 


THE FIGURE THREE. 


1. Describe and analyze the figure 3 according to Rule 1. 

(1) The figure 3 begins at head line. 

(2) A downward concave curved line, upward convex, down¬ 
ward concave, downward concave and upward convex curve, 
completes the figure 3. 

(3) It ends one-half space above base line. 

(4) One shade on the fourth stroke. 

(5) One space high. 

(6) x /t space wide. 

(7) Principle 2, 1, 2, 2 and 1 form the figure 3. 

< 2. Write and explain the figure 3 according to Rale II. 

(1) Its curves are about % of a space apart. 

(2) One loop, near the middle of main stroke. 

(3) One upper, oval turn. 

(5) Two lower, oval turns. 

(4) One middle shade, heaviest near the middle. 

(6) Its lower oval occupies % space. 

(7) Its width is equal to y z of its hight. 


LESSON 39. 


THE FIGURE FOUR. 

1. Describe and analyze the figure I according to Rule I. 
//' (1) The figure 4 begins at head line. 

(2) A downward concave curved line, horizontal convex and 
downward straight line, completes the figure 4. 

(3) It ends on base line. 

(4) One shade on the third stroke, heaviest at top. 

(5) One space high. 






THE FIGURE FOUR. 


65 


( 6 ) 

( 7 ) 

8 . 




( 2 ) 

( 3 ) 

( 5 ) 

(4) 

( 6 ) 
( 7 ) 


One space wide. 

Principle 2, 1 and 3, form the figure 4. 

Write and explain the figure I according to Rule II. 
(1) The first and third strokes are fiz space apart. 
One cross, second and third strokes. 

No upper turns. 

One lower angular turn. 

Middle shade, broad at top. 

The down strokes are about the same in length. 

Its width is equal to of its hight. 


LESSON 40. 


THE FIGURE FIVE. 


1. Describe and analyze the figure 5 according to Rule I. 

(1) The figure 5 begins at head line. 

(2) A downward straight oblique line, downward concave, 
upward convex and horizontal concave curve, completes the 


figure 5 

(3) 

( 4 ) 

( 5 ) 

(6) 

2 . 


h: 


( 2 ) 

(3) 

(3) 

( 4 ) 
( 6 ) 
( 7 ) 


It ends at head line. 

One shade, on the second stroke. 

One space high. 

One space wide. 

Principle 3, 2, 1 and 2, form the figure 5. 

Write and explain the jigu/re 5 according to Rule II. 
(1) Its upper part is % of a space wide. 

One loop, near the middle of main stroke. 

One upper, angular turn. 

One lower, oval turn. 

Middle shade, on main stroke. 

The oval occupies x /z space. 

Its width is equal to % of its hight. 





66 


FARRIAN PENMANSHIP. 


LESSON 41. 


TIIE FIGURE SIX. 

1. Descr ibe and analyze the figure 6 according to Rule /. 

(1) The figure 6 begins at head line. 

(2) A downward straight oblique line, upward concave 
and downward convex curve, completes the figure 6. 

(3) It ends on base line. 

(4) One shade on the first stroke, heaviest at the top. 

(5) One space high. 

(6) One space wide. 

(7) Principle 3, 2 and 1, form the figure 6. 

< 2. Write and explain the figure 6 according to Rule IL 
' (1) Its oval is ^ space wide. 

(2) No loop or cross. 

(3) One upper turn. 

(5) One lower turn. 

(4) Top shade, heaviest at the top. 

(6) The oval is the hight of the stem. 

(7) Its width is equal to of its hight. 


LESSON 42. 


THE FIGURE SEVEN. 


1. Describe and analyze the figure 7 according to Rule 1 . 

(1) The figure 7 begins near head line. 

(2) An upward straight line, horizontal concave and down¬ 
ward straight line, completes the figure 7. 

(3; It ends on base line. 

(4) One shade on the third stroke, heaviest at the bottom. 

(5) One space high. 

(6) yl space wide. 






the figure seven. 67 


Principle 3, 2 and 3, form the figure 7. 

Write and explain the figure 7 according to Rule 11. 

(1) The width of the top stroke is space. 

No loop or cross. 

Two upper, angular turns. 

No lower turns. 

One base shade, heaviest at bottom. 

Its strokes are, % space, >2 space, and one space long. 
Its width is equal to twice its hight. 


LESSON 43. 


THE FIGURE EIGHT. 

Describe and analyze the figure 8 according to Rule 1. 

(1) The figure 8 begins near head line. 

A short upward concave curved line, downward com* 
pound and upward straight oblique line, completes the figure 8. 

(3) It ends at head line. 

(4) One shade on the second stroke. 

(5) One space high. 

(6) >4 space wide. 

(7) Principle 2, 1, 2 aniF3, form the figure 8. 

Write and explain the figure 8 according to Rule II. 

(1) Its upper and lower parts are each about space wide- 

(2) One loop and cross, near the middle. 

(3) One upper, oval turn. 

(5) One lower, oval turn. 

(4) Middle shade, near base. 

(6) The same hight, each one space high. 

(7) Its width is equal to of its hight. 


(7) 

& 

( 2 ) 

(3) 

(5) 

(4) 

(6) 
(7) 




( 2 ) 







68 


FARRIAN PENMANSHIP. 


LESSON 44. 


THE FIGURE NINE. 

Describe and analyze the -figure 9 according to Rule 1. 

(1) The figure 9 begins at head line. 

(2) A downward convex curved line, upward concave and 
downward straight oblique line, completes the figure 9. 

(3) It ends on base line. 

(4) One shade on the third stroke, heaviest at the bottom. 

(5) One space high. 

(6) >2 space wide. 

(7) Principle 1, 2 and 3, form figure 9. 

6 2. Write and explain the figure 9 according to Rule 11. 

(l) The oval is % space wide. 

(2) No loop or cross. 

(3) One upper, angular turn. 

(5) One lower, oval turn. 

(4) Base shade, heaviest at the bottom. 

(6) The oval extends within ^ space of base line. 

(7) Its width is equal to of its hight. 


LESSON 45. 


THE SMALL LETTER A. 

1. Describe and analyze the small a according to Rule 1 

(1) The small letter a begins on base line. 

(2) An upward convex curved line, downward convex, up¬ 
ward concave, downward straight and upward concave curve, 
-completes the letter a. 

(3) It ends at head line. 

(4) One shade on second stroke. 

(5) One space high. 

(6j Three spaces wide. 











THE SMALL LETTER A. 


• 69 


(7) Principle 1, 1, 2, 3 and 2, form the small letter a. 

2. Write and explain the small a according to Rule II. 
y&fy* (1) The oval is ^ space wide. From the beginning 
of the lirst stroke to the end of the oval, at base, is one 
space. From the base of the oval to the end of the fourth 
stroke, one space. From the upper end of the fourth stroke to 
the end of the last stroke, one space. 

(2) No loop or cross. 

(3) Two upper, angular turns. 

(5) Two lower turns, one oval and one angular. 

(4) Middle shade, heaviest near the middle. 

(6) Each stroke is the same hight, one space. 

(7) Its width is equal to three times its hight. 


LESSON 46. 


THE SMALL LETTER BE. 


1. Describe and analyze the small b according to Rule 1. 


(1) The small letter b begins on base line. 

(2) An upward concave curved line, downward 



straight, upward concave^ and horizontal concave 
curve, completes the letter b. 

(3) It ends at head line. 

(4) No shade. 

(5) Three spaces high. 

(6) Two spaces wide. 

(7) Principles 2, 3, 2 and 2, form the small letter b. 

2. Write and explain the small b according to Rule II. 


(1) From the beginning of the first stroke to 
the end of the second stroke, is one space. From 



— the end of the second stroke to the end of the third 
stroke, ^ space, and from the end of the third stroke to 
the end of the last stroke, space 

(2) One loop, and cross, at head line. 

(L) Two upper turns, first oval, and second short. 










70 


FARRIAN PENMANSHIP. 


(5) One lower, short turn. 

(4) Not shaded. 

(6) The first part is equal to three times the hight of the 
second part, which is three spaces, and one space, respectively. 

(7) Its width is equal to * 2 3 4 /b of its hight. 


LESSON 47. 


THE SMALL LETTER SE. 

1. Describe and analyze the small c according to Rule 1. 

(1) The small letter c begins at base line. 

(2) An upward concave curved line, short downward 
straight, short upward concave, downward convex and upward 
concave curve, completes the letter c. 

(3) It ends at head line. 

(4) No shade. 

(5) One space high. 

(6) Two spaces wide. 

(7) Principles 2, 3, 2, 1 and 2, form the small letter c. 

8. Write and explain the small c according to Rule II. 

(1)' From the beginning of the first stroke to the end 
of the third short stroke, one space, and from the end of the 
second stroke to the end of the last stroke, one space. 

(2) One loop and cross, near the middle of strokes. 

(3) Two upper turns, first angular, second oval. 

(5) Two lower turns, both short. 

(4) Not shaded. 

(6) Each part is the same hight, one space. 

(7) Its width is equal to twice its hight. 









THE SMALL LETTER DE. 


71 


LESSON 48. 


THE SMALL LETTER DE. 


^2 


1. Describe and analyze the small d according to Rule I. 

- (1) The small letter d begins on base line. 

(2) An upward convex curved line, downward 
convex, upward concave, downward straight and up¬ 


ward concave curve, completes the letter d. 

(3) It ends at head line. 

(4) One shade on fourth stroke. 

(5) Two spaces high. 

(6) Three spaces wide. 

(7) Principle 1, 1, 2, 3 and 2, form the small d. 

°2. Write and explain the small & according to Rule II. 

(1) From the beginning of the first stroke to the 
lower end of the second stroke, one space. Width 
of oval, one space. From base of oval to base of straight line, 
one space, and from straight line to end of last stroke, one space. 

(2) No loop or cross. 

(3) One upper, angular turn. 

(5) Two lower turns, first oval, second, short. 

(4) Top shade, heaviest at the top. 

(6) The first part is equal to ^ the hight of the sec¬ 
ond part, or one space. 

(7) Its width is equal to 1^ times its hight, or three spaces. 


LESSON 49. 


THE SMALL LETTER E. 

1. Describe and analyze the small e according to Rule 1. 

| (1) The small letter e begins on base line. 

(2) An upward concave curved line, downward convex 
.and upward concave curve, completes the letter e. 

(3) It ends at head line. 

(4) No shade. 














72 


FARRIAN PENMANSHIP. 


(5) One space high. 

(6) Two spaces wide. 

(7) Principle 2, 1 and 2, form the small letter e. 

2. Write and explain the small e according to Rule II. 

(1) From the beginning of the first stroke to the end 
of the second stroke, one space, and from the second stroke to 
the end of last stroke, one space. 

(2) One loop. Lines cross near the middle of strokes. 

(8) One short, upper turn. 

(5) One short, lower turn. 

(4) No shade. 

(6) Each curve is made the same hight. 

(7) Its width is equal to twice its hight. 


LESSON 50. 



THE SMALL LETTER EF. 

1. Describe and analyze the small f according to Rule 1. 

(1) The small letter f begins on base line. 

(2) An upward concave curved line, downward 
straight, upward concave and upward concave curve, 
completes the letter f. 

(3) It ends at head line. 

(4) One shade, on second stroke. 

(5) Five spaces long, three above and two below base line. 

(6) Two spaces wide. 

(7) Principle 2, 3, 2 and 2, form the small letter f. 

2. Write and explain the small f according to Rule II. 

(1) Width of loops, each space. 

(2) Two loops, each two spaces long. 

(3) One short turn, at the top of letter. 

(5) One short turn, at bottom and one angular,. 

turn at base line. 

(4) One middle shade, below base line. 

(6 )Its first part is two spaces higher than the final stroke. 
(7) Its width is equal to § of its entire length. 














THE SMALL LETTER JE. 


73 


LESSON 51. 


THE SMALL LETTER JE. 


323 


1. Describe and analyze the small g according to Ride L 

(1) The small letter g begins on. base line. 

(_) An upward convex curved line, downward 
convex, upward concave, downward straight and 
upward convex curve, completes the letter g. 

(3) It ends at head line. 

(4) One shade on second stroke. 

(5) ^ Three spaces long, one above and two below base line. 

(6) Three spaces wide. 

(7) Principle 1 , 1 , 2, 3 and 1 , form the small letter g. 

2. Write and explain the small g according to Rale II. 

(1) Width of oval, one space. From first curve 

to point of oval at base, one space. From point of 
oval to straight line at base, one space. From top 
of oval to end of last stroke, one space. 

(2) One loop, % space wide. Lines cross at base line. 

(3) Two angular turns, at the top. 

(5) One short turn, at the bottom. 

(4) Middle shade, heaviest near the middle of the stroke. 

(6) The first part is 1 space high, last part 3 spaces long. 

(7) Its width and length are equal, or three spaces each. 



LESSON 52. 


THE SMALT. LETTER ACH. 

1. Describe and analyze the small h according to Rule I. 

(1) The small letter h begins on base line. 

(2) An upward concave curved line, downward 
straight, upward convex, downward straight and up¬ 
ward concave curve, completes the letter A. 

(3) It ends at head line. 

(4) One light shade on fourth stroke. 



6 
















74 


FARRIAN PENMANSHIP. 


(5) Three spaces high. 

(6) Three spaces wide. 

(7) Principles 2, 3, 1, 3 and 2, form the small letter A. 

£. Write and explain the small h according to Ride II. 



(1) Width from one stroke to the next at base, 
each one space. 

(2) One loop, space wide and two spaces long. 

(3) Two upper turns, each short. 

(4) Light middle shade, heaviest in the middle of stroke. 

(5) Two lower turns, viz. : angular and short. 

(6) The first part is equal to three times the hight of the 
last half of the letter. 

(7) Its width and hight are equal, or three spaces each. 


LESSON 58. 


THE SMALL LETTER I. 

1. Describe and analyze the small i according to Rale I. 
j y/y (1) The small letter i begins on base line. 

(2) An upward concave curved line, downward straight, 
upward concave curve and a round dot half way from top line to 
base line, completes the letter i .. 

(3) It ends at head line. 

(4) No shade. 

f(5) One space high. 

((6) Two spaces wide. 

f7) Principle 2, 3 and 2, form the small letter i. 

Write and explain the small i according to Rule II. 

(1) From one stroke to the next, at base, is one space. 

(2) No loop or cross. 

(3) One upper, angular turn. 

(4) Not shaded. 

(5) One short, lower turn. 

(6) Each stroke is the same hight, or one space. 

(7) Its width is equal to twice its hight, or two spaces. 










THE SMALL LETTER JA. 


75 


LESSON 54. 


THE SMALL LETTER JA. 


z 


1. Describe and analyze the small \ according to Ride I. 

(1) The small letter j begins on base line. 

(2) An Upward concave carved line, downward 
_straight and upward convex curve, completes the letter j. 

(3) It ends at head line. 

(4) No shade. 

(5) Three spaces long, one above and two below base line. 

(6) Two spaces wide. 

(7) Principles 2, 3 and 1, form the small letter j. 

2. Write and explain the small j according to Rule II. 

(1) Distance from first to second stroke, one 

space. From second stroke to end of last stroke, 
one space. The cross is formed at base line. 

(2) Width of loop, ^4 space. Length of loop, two spaces. 
Lines cross at base line. 

(3) One upper, angular turn. 

(4) Not shaded. 

(5) One short turn, at bottom. 

(6) First part, one space high, second part, 3 spaces long. 

(7) Its width is equal to of its length, or three spaces. 



LESSON 55. 


THE SMALL LETTER KA. 


Describe and analyze the small k according to Rule II. 

(1) The small letter k begins on base line. 

(2) An upward concave curved line, downward 
IR/ straight, upward convex, downward concave, short, 

downward straight and upward concave curve, completes the 
letter k. 

















76 


FARRIAN PENMANSHIP. 


(3) It ends at head line. 

(4) One shade on fifth stroke. 

(5) Three spaces high. 

(6) Three spaces wide. 

(7) Principle 2, 3, 1, 2, 3 and 2, form the small letter k. 

0. Write and explain the small k according to Rule II. 

(1) Distance from one stroke to the end of the 
next stroke, at base, one space. The small oval is % of 
a space long. Shaded stroke is ^ spaces high. 

(2) Loop pz space wide and two spaces long. 
Lines cross at head line. 

(3) Three upper turns, viz.: short, oval and angular. 

(4) Middle shade, heaviest in the middle of stroke. 

(5) Two lower turns, viz.: angular and short. 

(6) Its main hight is three times the hight of lower half. 

(7) Its width is equal to its hight, or three spaces. 



LESSON 56. 


THE SMALL LETTER EL. 



1. Describe and analyze the small 1 according to Rule I 

(1) The small letter l begins on base line. 

(2) An upward concave curved line, downward 
straight and upward concave curve, completes the letter L 


(3) It ends at head line. 

(4) No shade. 

(5) Three spaces high. 

(6) Two spaces wide. 

(7) Principles 2, 3 and 2, form the small letter l. 

Write and explain the small 1 according to Rule II. 

(1) From first curve to straight stroke, one space, 
from thence to end of last stroke, one space. 

(2) Width of loop, Yz space, length of loop, two 
spaces. Lines cross at head line, one space above base. 














THE SMALL LETTER EL. 


77 


(3) One short turn at the top. 

(4) Not shaded. 

(5) One short turn at base. 

(6) Same hight except the finishing stroke. 

(7) Its width is equal to 1 2 3 4 5 6 7 /z of its hight, or two spaces wide. 


LESSON 57. 


THE-SMALL LETTER EM. 


1. Describe and analyze the small m according to Rule 1. 

| (1.) The small letter m begins on base line. 

(2) An upward convex curved line, downward straight, up¬ 
ward convex, downward straight, upward convex, downward 
straight and upward concave curve, completes the letter m. 

(3) It ends at head line. 

(4) No shade. 

(5) One space high. 

(6) Four spaces wide. 

(7) Principles 1, 3,1, 3, 1, 3 and 2, form the small letter m. 

Write and explain the small m according to Rale II. 

(1) The strokes are each one space apart at base. 

(2) No loop or cross. 

(3) There are three short turns at the top. 

(4) Not shaded. 

(5) There are three lower turns at base, viz. : one short 
and two angular. 

(6) Each stroke is the same hight, or one space each. 

(7) Its width is equal to four times its hight, or four spaces. 









78 


FARRIAN PENMANSHIP. 


LESSON 58. 


THE SMALL LETTER EN. 

1. Describe and analyze the small n according to Ride 1. 

(1) The small letter n begins on base line. 

(2) An upward convex curved line, downward straight, 
upward convex, downward straight and upward concave curve, 
completes the letter n. 

(3) It ends at head line. 

(4) No shade. 

(5) One space high. 

(6) Three spaces wide. 

(7) Principles 1 , 3, 1 , 3 and 6 form the small letter n. 

< 2. Write and explain the small n according to Rule II. 

(1) The lines at base are each one space apart. 

(2) No loop or cross. 

(3) Two short turns at the top. 

(4) Not shaded. 

(5) Two lower turns at base, viz.: angular and short. 

(6) Each line is the same hight, or one space. 

(7) Its width is equal to three times its hight, or three spaces. 


LESSON 59. 


THE SMALL LETTER O. 

1. Describe and analyze the small o according to Rule I. 

| (1) The small letter o begins on base line. 

(2) An upward convex curved line, downward convex, 
upward concave and horizontal concave curve, completes the 
letter o. 

(3) It ends at head line. 

(4) No shade. 

(5) One space high. 












THE SMALL LETTER O. 


79 


(6) Two spaces wide. 

(T) Principles 1, 1, 2 and 2, form the small letter o. 

2. Write and explain the small o according to Ride 11. 
yfT" (1) Width of oval, space. From first stroke to 
base of oval, one space. From top of oval to end of last stroke, 
space. Length of last curve, horizontally, ^ space. 

(2) No loop or cross. 

(3) Two upper turns, 'both angular. 

(4) Not shaded. 

(5) One lower, oval turn. 

(6) Each curve extends the same hight, or one space. 

(7) Its width is equal to twice its hight, or two spaces. 


LESSON 60. 


TILE SMALL LETTER PE. 


1 . Describe and analyze the small p according to Ride I. 

- (1) The small letter^? begins on base line. 

7 ’ (2) An upward concave curved line, downward 

A/ straight, upward convex, downward straight and up¬ 
ward concave curve, completes the letter p. 


(3) It ends at head line. 

(4) One shade on the second stroke, heaviest at the bottom. 

(5) Three spaces long, two above and one below base line. 

(6) Three spaces wide. 

(7) Principle 2, 3, 1, 3 and 2, form the small letter^. 

2. Write and explain the small p according to Rule II. 

(1) Distance from one main stroke to the next* 
at base, one space each. 

(2) No loop or cross. 

y (3) Two upper, angular turns. 

(4) Base shade, heaviest at the bottom. 

(5) Two lower turns, viz.: tracing angular and short. 

(6) Its main hight is one space higher than the second part. 

(7) Its length and width are equal, or three spaces. 














80 


FARRIAN PENMANSHIP. 


LESSON 61. 


THE SMALL LETTER KU. 

1. Describe and analyze the small q according to Rule 1. 
y (1) The small letter q begins on base line. 


r 


_ 


(2) An upward convex curved line, downward con¬ 
vex, upward concave, downward straight, upward 
concave and upward concave curve, completes the letter q. 

(3) It ends at head line. 

(4) One shade on second stroke. 

(5) Three spaces long, one above and two below base line. 

(6) Three spaces wide. 

(7) Principle 1, 1, 2, 3, 2 and 2, form the small letter q. 

°2. Write and explain the small q according • to Rule II. 

(1) From first stroke to base of oval, one space. 
From base of oval to straight line, one space. From 
straight line to end of last stroke, one space. 

(2) Width of loop, Yv space and two spaces long. 

(3) Three upper, angular turns. 

(4) Middle shade, heaviest in the middle of second stroke. 

(5) One short turn, at bottom. 

(6) First part, one space high, last part, three spaces long. 

(7) Its hight and length are equal, or three spaces each. 


7 


LESSON 62. 


THE SMALL LETTER AR. 

1. Describe and analyze the small -r according to Rule I. 

(1) The small letter r begins on base line. 

(2) An upward concave curved line, downward convex 
short, downward straight and upward concave curve, com¬ 
pletes the letter r. 

(3) It ends at head line. 

(4) No shade. 














THE SMALL LETTER AR. 


81 


(5) One space high. 

(6) Two spaces wide. 

(7) Principle 2, 1, 3 and 2, form the small letter r. 

2. Write and explain the small r according to Rule II. 

(1) Lines one space apart. Width of letter at 


shoulder, % space. Shoulder, % space from base. 

(2) No loop or cross. 

(3) Two upper, angular turns. 

(4) Not shaded. 

(5) One lower, short turn at base. 

(6) Main stroke is 1 space, and third stroke, Y\ space high. 

(7) Its width is equal to twice its hight, or two spaces. 


LESSON 63. 


THE PRACTICAL LETTER AR. ' 

1. Describe and analyze the practical r according to Rule 1. 

f (1) The practical letter r begins on base line. 

(2) An upward convex curved line, downward straight, 
upward straight and horizontal concave curve, completes th * 
practical letter r. 

(3) It ends at head line. 

(4) No shade. 

(5) One space high. 

(6) Two spaces wide. 

(7) Principle 1, 3, 3 and 2, form the practical letter r. 

2. Write and explain the practical r according to Rule II. 

(1) From the first curve to the end of the straight 
une at base, one space. From top of straight line to end of final 
stroke, at head line, one space. 

(2) No loop or cross. 

(3) Two upper turns, viz.: short and angular. 

(4) Not shaded. 

(5) One lower, short tracing turn. 

.(6) Its last half is % space higher than the first part. 

(7) Its width is equal to twice its hight, or two spaces. 









82 


FARRIAN PENMANSHIP. 


LESSON 64. 


THE SMALL LETTEE ES. 


'1. Describe and analyze the small s according to Rule 1 . 

(1) The small letter s begins on base line. 

(2) An upward concave curved line, downward concave and 
upward concave curve, completes the small letter s. 

(3) It ends at head line. 

(4) One light shade, on the down stroke. 

(5) One space high. 

(6) Two spaces wide. 

(7) Principle 2, 2 and 2, form the small letter s. 

Write and explain the small s according to Rule II. 

(1) From first stroke to base of pointed oval, one- 
space, and from thence to end of last stroke, one space. 

(2) Width of loop, or pointed oval, space. 

(3) One angular turn, at the top. 

(4) Light middle shade, on second stroke. 

(5) One short turn, at base. 

(6) Each stroke is the same hight, or one space. 

(7) Its width is equal to twice its hight, or two spaces. 







THE LONG LETTER ES. 


83 - 


LESSON 65. 


THE LONG LETTER ES. 

1. Describe and analyze the long s according to Rule 1. 

(1) The long letter s begins on base line. 

(2) An upward concave curved line, downward 
compound and upward convex curve, completes tlm 
long letter s. 

(3) It ends at head line. 

(4) No shade. 

(5) Five spaces.long, three above and two below base line. 

(6) Two spaces wide. 

(7) Principle 2, 1, 2 and 1, form the long letter s. 



2. Write and explain the long s according to Ride II. 


(1) Distance of main strokes at base, each one 
space apart. Curves are made without shade. 

(2) Two loops, each ^2 space wide and 2 long. 

(3) One short turn at top. 

(4) Not shaded. 

(5) One short turn at bottom of letter. 

(6) First part three spaces high, last part three spaces long. 

(7) Its width is equal to § of its entire length, or two spaces- 













S4 


FARRIAN PENMANSHIP. 


LESSON 66. 


THE SMALL LETTER TE. 

Describe and analyze the small t according to Rule I. 

(1) The small letter t begins on base line. 

(2) An upward concave curved line, downward 
straight, upward concave and horizontal straight, half 

way from top to base line, completes the letter t. 

(3) It ends half way between top and base line. 

(4) One shade on second stroke, heaviest at the top. 

(5) Two spaces high. 

(6) Two spaces wide. 

(7) Principle 2, 3, 2 and 3, form the small letter t. 

2. Write and explain the small t according to Rule II. 

(1) Distance between strokes at base, one space. 
From main straight line to end of final stroke, 1 space. 

(2) No loop. One cross, % space from the top of letter. 

(3) One upper, angular turn. 

(4) Top shade, heaviest at the top of letter. 

(5) One short turn at base. 

(6) Its first part is twice the hight of the final concave stroke. 

(7) Its width is equal to its hight, or two spaces wide. 










THE TERMINATING LETTER TE. 


85 


LESSON 67. 


THE TERMINATING LETTER TE. 


1. Describe and analyze the terminating t according to Rule 1. 



(1) The terminating letter t begins on base line. 

(2) An upward concave curved line, downward 


straight and upward convex curve, completes the letter t. 


(3) It ends at head line. 

(4) One shade, heaviest at base. 

(5) Two spaces high. 

(6) Two spaces wide. 

(7) Principle 2, 3 and 1, form the terminating letter t- 


Write and explain the terminating t according to Rule 11. 



(1) From first to second stroke at base, one space. 
From the straight line to the end of the terminating 
stroke, one space. 

(2) No loop. One cross at head line. 

(3) One upper, short tracing turn. 

(4) Base shade, heaviest at the bottom. 

(5) One short, lower turn. 

(6) The first two strokes are one space higher than tlie 
terminating stroke. Final stroke, one space from base. 

(7) Its width and hight are equal, each two spaces. 









-86 


FARRIAN PENMANSHIP. 


LESSON 68. 


THE SMALL LETTER U. 

1. Describe and analyze the small u according to Rule I. 

j y/yfy' (1) The small letter u begins on base line. 

(2) An upward concave curved line, downward straight, 
upward concave, downward straight and upward concave curve, 
completes the letter u . 

(3) It ends at head line. 

(4) No shade. 

(5) One space high. 

(6) Three spaces wide. 

(7) Principle 2, 3, 2, 3 and 2, form the small letter u. 

Write and explain the small u according to Ride II. 

(1) Distance between straight strokes, one space. 
The beginning stroke and final curves each occupy one space. 

(2) No loop or cross. 

(3) Two angular turns at the top. 

(4) Not shaded. 

(5) Two short turns at base. 

(6) Each part the same hight, or one space. 

(7) Its width is equal to three times its hight, or 3 spaces. 


LESSON 69. 


THE SMALL LETTER VE. 

1. Describe and analyze the small v according to Rule I. 

(1) The small letter v begins on base line. 

(2) An upward convex curved line, downward straight, 












THE SMALL LETTER YE. 


87 


upward concave and horizontal concave curve, completes the 
letter v. 


(3) It ends at head line. 

(4) One light shade on the second stroke. 

(5) One space high. 

(6) Two spaces wide. 

(7) Principle 1, 3, 2 and 2, form the small letter v. 

2. Write and explain the small v according to Rule II. 

(1) From beginning of letter to straight line, one 


space. Width between the second and third strokes, ^ space. 
The two final curves, each occupy ^ space, horizontally. 

(2) No loop or cross. 

(3) Two upper turns, viz.: short and angular. 

(4) Light middle shade, made heaviest in the middle. 

(5) One short, lower turn at base. 

(6) Parts are the same in hight, or one space. 

{7) Its width is equal to twice its hight, or two spaces. 


LESSON 70. 


THE SMALL LETTER DUBELU. 

1. Describe and analyze the small w according to Rule 1. 
I (1) The small letter w begins on base line. 

(2) An upward concave curved line, downward straight, 
upward concave, downward straight, upward concave and hori¬ 
zontal concave curve, completes the letter w. 

(3) It ends at head line. 

(4) No shade. 

(5) One space high. 

(6) Three spaces wide. 

(7) Principle 2, 3, 2, 3, 2 and 2, form the small letter w. 








88 


FARRIAN PENMANSHIP. 


2. Write and explain the small w according to Rule 11 

(1) From beginning of first curve to straight 
line, one space. Distance between main strokes, one space. 
The final two curves each occupy ^4 space, horizontally. 

(2) No loop or cross. 

(3) Three upper, angular turns. 

(4) Not shaded. 

(5) Two lower, short turns at base. 

(6) Its parts are the same hight, each one space. 

(7) Its width is equal to three times its hight, or three spaces. 


LESSON 71. 

1 HE SMALL LETTER EX. 

Describe and analyze the small x according to Rule /. 

(1) The small letter x begins on base line. 

An upward convex curved line, downward straight, 
downward convex and upward concave curve, completes the 
letter x. 

(3) It ends at head line. 

(4) No shade. 

(5) One space high. 

(6) Two spaces wide. 

(7) Principle 1, 3, 1 and 2, form the small letter x. 

2. Write and explain the small x according to Rule II. 

y' (1) Width of each part, or half of letter, one 
space. Distance of lines at top and base, each, ^ of a space. 


1 . 

SZZZL 

(8) 









THE SMALL LETTER EX. 


89 


(2) No loop or cross. 

(3) One short turn at the top. 

(4) Not shaded. 

(5) One short turn at base. 

(6) Each part is the same hight, or one space each. 

(7) Its width is equal to twice its hight, or two spaces. 


LESSON 72. 


THE SMALL LETTER WI. 

1. Describe and analyze the small y according to Rule 1. 
X/XX (1) The small letter y begins on base line. 

—X/ _. (2) An upward convex curved line, downward 

straight, upward concave, downward straight and 
upward convex curve, completes the letter y. 

(3) It ends at head line. 

(4) One shade on the second stroke. 

(5) Three spaces long, one above and two below base line. 

(6) Three spaces wide. 

(7) Principle 1, 3, 2, 3 and 1, form the small letter y. 

< 2. Write and explain the small y according to Rule 11. 

(1) The convex and concave curved lines, each 
occupy one space, horizontally. 

(2) No loop or cross. 

(3) Two upper turns, viz.: short and angular. 

(4) Middle shade, heaviest near the middle of stroke. 

(5) Two lower, short turns. 

(6) Each part extends the same hight. Final stroke three 
spaces long, one above and two below base line. 

(7) Its width and length are equal, or three spaces each. 


X7 XX 



7 











90 


FARRIAN PENMANSHIP. 


LESSON 73. 


THE SMALL LETTER ZE. 

1. Describe and analyze the small z according to Rule 1. 

(L) The small letter z begins on base line. 

(2) An upward convex curved line, downward 
straight, downward concave and upward convex curve, 
completes the letter 2 . 

(3) It ends at head line. 

(4) One shade on the second stroke. 

(5) Three spaces long, one above and two below base line. 

(6) Two spaces wide. 

(7) Principle 1 , 3, 2 and 1 , form the small letter 2 . 

#. Write and explain the small z according to Rule II. 

(1) Distance from first to second stroke, one space. 

(2) Width of loop, ^ space. 

(3) One upper, short turn at head line. 

(4) Middle shade, made light at end of lines. 

(5) Two lower turns, viz.: angular and short. 

(6) Each part extends one space above base. Last curve, 
three spaces long, one above and two below base line. 

(7) Its width is equal to 2 /i of its length, or two spaces wide. 




LESSON 74. 


THE CAPITAL LETTER A. 



1. Describe and analyze the capital A according to Rule I 

(1) The capital letter A begins at top line. 

(2) The first stroke is a capital stem, which is 
made downward from the top and shaded on concave 

curve near base. It begins again at the top with a straight 
oblique line, which, joining angularly with the capital stem, is 
brought down to base line. To this is joined, at head line, the 
small finishing curves, which completes the capital letter A. 

















THE CAPITAL LETTER A. 


91 


(3) It ends at head line. 

(4) One shade on the first stroke, near base. 

(5) Three spaces high. 

(6) Three spaces wide. 

(7) Principle 1, 2. 1, 3, 1 and 2, form the capital letter A. 

2. Write and explain the capital A according to Rule II. 


(1) Distance between the capital stem and 
straight line at base, lj4 spaces. Width of oval, 



v ^ laterally, or horizontally, two spaces. 

(2) Width of loop, horizontally, ^ of a space. Length of 
loop, space. Lines cross x /z space above base line. 

(3) Two upper, angular joinings, at top and head lines. 

(4) Middle shade, heaviest in the centre of concave curve. 

(5) One oval turn near base. 

(6) Main hight, three spaces. The oval is % the hight of 
the capital stem. The final stroke extends p3 the hight of the 
letter. Last stroke begins and ends one space above base line. 

(7) Its width and hight are equal, three spaces each. 


LESSON 75. 


THE CAPITAL LETTER BE. 


7. Describe and analyze the capital B according to Ride /. 


(1) The capital letter B begins at intermediate line. 

(2) The first stroke is a capital stem, which is made 



> downward from the top and shaded on concave curve, 


near base, where it unites with a full convex curve, which is 
made upward to top line. Here it combines with a downward 
concave curve, which joins the capital stem near the middle, 
forming a loop. To this is joined another concave curve, which 
is brought down to base, where it unites with a convex curve, 
which is made upward, and completes the capital letter B. 

(3) It ends near the middle of the letter. 

(4) One shade on first stroke. 

(5) Three spaces high. 

(6) Two spaces wide. 

(7) Principle 1, 2, 1, 2, 2 and 1, form the capital letter B. 











92 


FARRIAN PENMANSHIP. 



Write and explain the capital B according to rule II. 

(1) Distance between stem and full convex curve,. 
1^2 spaces. Distance between stem and the concave 
curves, each, ^4 space. Distance between stem and 
short convex curve at widest part, one space. 

(2) Width of small loop, horizontally, /3 of a space. 
Length of loop, ^ of a space. Cross of stem and loop, 1^4 
spaces above base line. 

(3) Two upper turns, viz.: oval and short. 

(4) Middle shade, heaviest in centre of concave curve. 

(5) Two lower, oval turns. 

(6) Main hight, three spaces. The stem is two spaces high. 
The final curve extends to T /z the hight of the letter, 1% spaces. 

(7) Its width is equal to 2 3 /z of its hight, or two spaces wide. 


■ LESSON 76. 


THE CAPITAL LETTER SE. 


1. Describe and analyze the capital C according to Rule 7. 
y (1) The capital letter C begins on base line. 

(2) The first stroke is a full concave curve, which 
Iy is made upward to top line, where it unites with a 



shaded, full, convex curve, which combines with the curves of the* 
direct oval and completes the capital letter C: 

(3) It ends near base line. 

(4) One shade on the second stroke. 

(5) Three spaces high. 

(6) Three spaces wide. 

(7) Principle 2, 1, 2 and 1, form the capital letter C. 

#. Write and explain the capital C according to Rule IL 

(1) Distance between first and second strokes 
at base, one space. Full width of oval, two spaces. 

(2) Width of loop, >4 space. Length of loop* 
two spaces. Cross of loop at head line. 

(3) Two upper turns, viz.: short and oval. 














THE CAPITAL LETTER SE. 


93 


(4) Middle shade, heaviest near centre of main stroke. 

(5) One lower oval turn. 

(6) Main hight, three spaces. The oval extends % the 
hight of the letter, or 1}4 spaces. 

(7) Its width and hight are equal, or three spaces. 


LESSON 77. . 


THE CAPITAL LE TTER DE. 

1. Describe and analyze the capital D according to Rule 1. 

(1) The capital letter D begins at intermediate line. 

(2) The first stroke is a capital stem, which is made 
downward from the top and shaded on concave curve 


near base, where it unites with a horizontal compound curve, 
forming a loop, combines with the curves of the inverted oval, 
which completes the capital letter D. 

(3) It ends near base line. 

(4) One shade on the first stroke, near base. 

(5) Three spaces high. 

(6) Three spaces wide. 

(7) Principle 1, 2, 1, 2 and 1, form the capital letter D. 

<2. Write and explain the capital D according to Rule 11. 

(1) Width of oval, two spaces. 

(2) Width of oval loop, % of a space. Length 
of loop, >4 space. Cross of loop, near base. 

(3) One upper oval turn. 

(4) Middle shade, heaviest in centre of concave curve. 

(5) One lower short turn, near base. 

(6) Main hight of letter, three spaces. The stem is two 
spaces high. Length of horizontal loop at base, one space. 

(7) Its full width and hight are each three spaces. 












94 


FARRIAN PENMANSHIP. 


LESSON 78. 


e 


THE CAPITAL LETTER E. 

1. Describe and analyze the capital E according to Hide 1. 

(1) The capital letter E begins at top line. 


(2) The first curves form the inverted oval, which 
unites with a loop, combines with the curves of the 
direct oval, which completes the capital letter E. 

(3) It ends near base line. 

(4) One shade on the fourth stroke. 

(5) Three spaces high. 

(6) Two spaces wide. 

(7) Principle 1, 2, 1, 1, 2 and 1, form the capital letter E. 

Write and explain the capital E according to Rule II. 

(1) Width of small inverted oval, ^4 space. Full 
width of upper curves, one space. Distance of final 
stroke from shaded curve, space. Width of direct 
oval, 1 spaces. 

(2) Width of small loop, % of a space. Length, space. 

(3) Three upper turns, viz.: oval, short and oval. 

(4) Middle shade, heaviest near centre of main stroke. 

(5) One lower, oval turn at base. 

(6) The small inverted oval is one space long. The direct 
oval is male ^2 the hight of the letter. 

(7) The width is equal to 2 /z of its hight, or two spaces. 



LESSON 79. 


THE CAPITAL LETTER EF. 


1. Describe and analyze the capital E according to Rule /. 

(1) The capital F begins at intermediate line. 

(2) The first stroke is a capital stem, which is 
made downward from the top and shaded on con- 

It begins again at intermediate line, to 


¥ 



















THE CAPITAL LETTER EF. 


95 


the left of the stem, with simple curves, forming a loop oval, 
which combines with a horizontal compound curve at the top. 
A short, straight stroke at the right, completes the capital F. 

(3) It ends near the middle of letter, 1^ space above base. 

(4) One shade on the first stroke. 

(5) Three spaces high. 

(6) Three spaces wide. 

(7) Principle 1, 2, 1, 1, 2, 1, 2 and 3, form the capital F. 

2. Write and explain the capital F according to Fide 1L 

(1) Width of base oval, laterally, two spaces. 
—Full width of top curves, two spaces. 

C y _ (2) Width of loop oval, y* space. Length 

of oval, one space. Cross of loop, near the top of the letter. 

(3) Two oval turns near the top of letter. 

(4) Middle shade, heaviest in centre of concave curve. 


(5) One oval turn near base. 

(6) Main hight of letter, 3 spaces. Base-oval, XA spaces 
high. Stem, two spaces high. Final stroke, ^4 space long. 

(7) Width and hight are equal, each three spaces. 


LESSON 80. 


THE CAPITAL LETTER JE. 


1. Discribe and analyze the capital G according to Ride A 

-—yr (1) The capital letter G begins on base line. 

(2) The first stroke is a ful1 concave curve, which 
is made upward to top line, where it unites with a 
downward convex curve, which crosses the concave curve at 
head line, forming a loop. With a broad turn this curve unites 
with a short concave curve, which is made upward to half the 
hight of the letter, and there joins angularly with the capital 
stem, which is made downward from the top, shaded on con¬ 
cave curve near base, and completes the capital letter G. 

(3) It ends near the middle. 

(4) One shade on the fourth stroke, near base. 

(5) Three spaces high. 











96 


FARRIAN PENMANSHIP. 


(6) Three spaces wide. 

(7) Principle 2, 1, 2, 1, 2 and 1, form the capital letter G. 
8. Write and explain the capital G according to Ride II. 

(1) Width of oval, laterally, two spaces, which is 
equally divided by the first concave curve. 

(2) Width of loop, Yz space. Length of loop, two 



spaces. Cross of loop, at head line. 

(3) Two upper turns, viz. : short and angular. 

(4) Middle shade, heaviest at centre of concave curve. 

(5) One lower oval turn. 

(6) Main hight of letter, three spaces. Hight of oval and 
stem, each 1% spaces. 

(7) Its width and hight are equal, each three spaces. 


LESSON 81. 



THE CAPITAL LETTER ACH. 

1. Describe and analyze the capital II according to. Rule I. 

(1) The capital letter H begins on base line. 

(2) The first stroke is a concave curve, which 
is made upward to intermediate line, and there 

joins angularly with the capital stem, which is made downward 
from the top and shaded on concave curve, near base. It begins 
again at top line, two spaces to the right of the capital stem, 
with a light convex stroke, which is brought down to base. To this 
is joined, at head line, the short finishing curves, which com¬ 
pletes the capital letter II. 

(3) It ends at head line. 

(4) One shade on the second stroke, near base. 

(5) Three spaces high. 

(6) Four spaces wide. 

(7) Principle 2, 1, 2, 1,1,1 and 2, form the capital letter II. 

8. Write and explain the capital H according to Rule II. 

S' (1) Width of oval, laterally, two spaces, which 
is equally divided by the first* concave curve. Dis- 

- tance of parts at top, horizontally, two spaces, 

at base, 1^ spaces. 











THE CAPITAL LETTER ACH. 


97 


(2) Width of loop, yz space. Length of loop, Y* space. 
Cross, Yz space above base line. 

(3) One angular turn at top, and one angular joining. 

(4) Middle shade, heaviest at centre of concave curve. 

(5) One oval turn, near base line. 

(6) Main hight of letter, three spaces. Hight of first curve 
and capital stem, two spaces each. 

(7) Its width is equal to D/i times its hight, or four 
spaces. Hight of full convex curve, three spaces. 


LESSON 82. 


THE CAPITAL LETTER I. 


1. Describe and analyze the capital I according to Rule I. 


(1) The capital letter 1 begins on base line. 

(2) The first stroke is a full convex curve, which 



is made upward to top line and there joins, angularly, 


with the capital stem, which is made downward from the top, 
shaded on concave curve near base, and completes the capital /. 

(3) It ends near the middle of the letter. 

(4) One shade on the second stroke near base. 

(5) Three spaces high. 

(6) Three spaces wide. 

(7) Principle 1, 1, 2 and 1, form the capital letter 1. 

< 2. Write and explain the capital I according to Rule II. 


(1) Width of oval, laterally, two spaces. 

(2) Width of loop, one space. Length of loop, 2 Y* 



( spaces. Cross of loop, Y* space above base line. 

(3) One angular turn, at the top. 

(4) Middle shade, heaviest at centre of concave curve. 

(5) One oval turn, near base line. 

(6) Main hight of letter, three spaces. The oval is equal to 
one-half the hight of the letter. 

(7) Its width is equal to 2 /z of its hight, or two spaces. 













98 


FARRIAN PENMANSHIP. 


LESSON 83. 


THE CAPITAL LETTER JA. 


zz 


1. Describe and analyze the capital J according to Rule I. 

(1) The capital letter J begins on base line. 

(2) The first stroke is a light convex curve, which 
^ is made upward to top line and there joins, angularly, 

with a capital stem, which is- made downward from 
,the top, shaded on concave curve, one space below 
base line, and completes the capital letter J. 

(3) It ends at head line. 

(4) One shade on second stroke. 

(5) Five spaces long, three above and two below base line. 

(6) Two spaces wide. 

(7) Principle 1, 1, 2 and 1, form the capital letter J. 

2. Write and explain the capital J according to Rule II. 

(1) Width of oval, below base, space. 

(2) Width of loop, one space. Length of loop, 
2 >4 spaces. Crossing, % space above base line. 

(3) One angular turn, at the top 1 of letter. 

(4) Middle shade, heaviest below base line.. 

(5) One short turn, at bottom of letter. 

(6) Its main hight is equal to f of its entire length. 

(7) Its width is equal to J of its hight, or two spaces. 



LESSON 84. 


THE CAPITAL LETTER KA. 


1. Describe and analyze the Capital K according to Rule I. 

(1) The capital letter K begins on base line. 

(2) The first stroke is a light concave 


curve, 

which is made upward to intermediate line, and 
there joins, angularly, with the capital stem, which is made 
downward from the top, and shaded on concave curve, near base. 



















THE CAPITAL LETTER KA. 


99 : 


It begins again at top line, two spaces to the right of the capital 
stem, with a light downward, compound curve, or wave line, which 
joins the capital stem near the middle, forming a loop. To this' 
is joined another light, compound curve, or wave line, which is 
brought down to base line, where it unites with a light concave 
curve, which is made upward, and completes the capital letter K. 

(3) It ends at head line. 

(4) One shade on the second stroke, near base line. 

' (5) Three spaces high. 

(6) Four spaces wide. 

(7) Principle 2, 1, 2, 1, 1, 2, 2, 1 and 2, form the capital R. 

2. Write and explain the capital K according to Rule II. 

(1) Width of parts, horizontally, two spaces, at 
base, 1% spaces. Width of oval, laterally, two 
i/ ■ — spaces. 

(2) Width of loop, % space. Crossing of stem, 1 >4 
spaces above base line. 

(3) Two upper turns, viz.: angular and short. 

(4) Middle shade, heaviest at centre of concave curve. 

(5) Two lower turns, viz.: oval and short. 

(6) Main hight of letter, three spaces. Hight of oval, 

spaces. Hight of stem, two spaces. Hight of first compound 

curve, or wave line, at the right, three spaces above base. 

(7) Its width is equal to D/z times its hight, or four spaces. 


LESSON 85. 


THE CAPITAL LETTER EL. 

1. Describe and analyze the capital L according to Rule I. 

(1) The capital letter L begins on base line. 

(2) The first stroke is a full concave curve, which 
is made upward to top line, and there unites with the 



capital stem, which is made downward from the top and shaded 
on concave curve, near base, where it combines with a horizontal 
compound curve, forming a loop oval, and completes the capiatl I ► 

(3) It ends at head line. 

(4) One shade on the second stroke, near base line. 

(5) Three spaces high. 










100 


FARRIAN PENMANSHIP. 



(6) Three spaces wide. 

(7) Principle 2, 1, 2, 1 and 2, form the capital letter L. 

6 2. Write and explain the capital L according to Rule 11 

(1) Width of first loop, horizontally, ^ space. 

(2) Length of top loop, \ x /z spaces. Cross, 1^4 spaces 
above base line. Width of base loop, one space. 

(3) One short turn, at the top of letter. 

(4) Middle shade, heaviest at centre of concave curve. 

(5) One oval turn near base. 

(6) Main hight of letter, three spaces. Hight of oval loop 
.at base, yi of a space. 

(7) Its width and hight are equal, or three spaces each. 


LESSON 86. 


THE CAPITAL LETTER EM. 


1. Describe and analyze the capital M according to Rule 1. 

(1) The capital letter M begins at top line. 

(2) The first stroke is a capital stem, which is 
made downward from the top and shaded on con- 






cave curve, near base. It begins again at the top with a straight 
oblique line, joining, angularly, with the capital stem, thence 
descends to base line, where it unites, angularly, with a full convex 
curve, made upward to the hight of the letter, joining, angu¬ 
larly, with another full convex curve, which combines at base 
with an upward concave curve, and completes the capital M. 

(3) It ends at head line. 

(4) One shade on the first stroke, near base line. 

(5) Three spaces high. 

(6) Four spaces wide. 

(7) Principle 1, 2, 1, 3,1, 1 and 2, form the capital letter M. 

2. Write and explain the capital M according to Rule 11. 

(1) Distance between angular points at the 
top of the letter, one space. Distance between 

Lrl _main strokes at base, one space. Width of oval, 

laterally, two spaces. 














101 


THE CAPITAL LETTER EM. 

f ; W ' 

(2) No loop or cross. 

(3) One angular joining and one angular turn at top of letter. 

(4) Middle shade, heaviest at centre of concave curve. 

(5) Three lower turns, viz.: oval, angular and short. 

(6) Main hight, three spaces. Hight of oval, 1% spaces. 
Hight of angular points above base, three spaces. 

(7) Its width is equal to 1 }i times its hight, or four spaces. 


LESSON 87. 



THE CAPITAL LETTER EN. 

Describe and analyze the capital N according to Rule I. 

(1) The capital letter N begins at top line. 

(2) The first stroke is a capital stem, which is 
made downward from the top and shaded on concave 

curve, near base. It begins again at the top with a straight 
oblique line, joining, angularly, with the capital stem, is brought 
down to base, where it unites with a light convex curve, which 
is made upward and completes the capital letter N. 

(3) It ends at intermediate line, two spaces above base line. 

(4) One shade on the first stroke, near base. 

(5) Three spaces high. 

(6) Three spaces wide. 

(7) Principle 1/2, 1, 3 and 1, form the capital letter JV. 

< 2. Write and explain the capital N according to Rule IL 
(1) Width of oval, laterally, two spaces. Dis- 
rfy tance of stem and straight line, at base, 1% spaces. 
/ l- (2) No loop or cross. 

(3) One angular joining at the top of letter. 

(4) Middle shade, heaviest at centre of concave curve. 

(5) Two lower turns, viz.: oval and angular. 

(6) Main hight of letter, three spaces. Hight of oval, 1% 
spaces. Hight of angular point, three spaces. Hight of final 
curve, above base line, two spaces. 

(7) Its width and hight are equal, or three spaces. 











102 


FARRIAN PENMANSHIP. 


LESSON 88. 


THE CAPITAL LETTER O. 



Describe and analyze the capital O according to Rule I. 

(1) The capital letter 0 begins at top line. 

(2) The first stroke is a fall shaded convex curve, 
which is brought down to base, where it unites with a 

full concave curve, made upward, and completes the capital O. 

(3) It ends near top line. 

(4) One shade on the first stroke, near the middle of curve. 

(5) Three spaces high. 

(6) Two spaces wide. 

(7) Principle 1 and 2, form the capital letter O. 

Write and explain the capital O according to Rule II. 

(1) Distance of convex and concave curved lines, at 
widest part, two spaces. 

(2) No loop or cross. 

(3) One oval turn, at the top of letter. 

(4) Middle shade, heaviest at centre of convex curve. 

(5) One oval turn at base of letter. 

(6) Main hight of letter, three spaces. Each stroke is made 
about the same hight, or three spaces. 

(7) Its width is equal to Yi of its hight, or two spaces wide. 



LESSON 89. 


THE CAPITAL LETTER PE. 


1. Describe and analyze the capital P according to Ride 1. 

(1) The capital letter P begins at intermediate line. 

(2) The first stroke is a capital stem, which is made 
downward from the top and shaded on concave curve, 

near base, where it unites with a full convex curve, made up¬ 
ward to top line and there unites with a light concave curve, 
which is made downward, joining the capital stem near the 
middle, and completes the capital letter P. 

















THE CAPITAL LETTER PE. 


103 


(3) It ends near the middle. 

(4) One shade on the first stroke, near base line. 

(5) Three spaces high. 

(6) Two spaces wide. 

(7) Principle 1, 2, 1 and 2, form the capital letter P. 

2. Write and explain the capital P according to Rule II. 
/—\ (1) Distance between capital stem and convex curve, 

' PY 1*4 spaces. Distance between capital stem and concave 
JL. _ curve, x /z space. 


(2) No loop. One cross, near the middle of the capital stem. 

(3) One oval turn, at the top of letter. 

(4) Middle shade, heaviest at centre of concave curve of stem. 

(5) One oval turn, near base line. 

(6) Main hight of letter, three spaces. Hightof capital stem, 
two spaces. Hight of full convex curve, three spaces. 

(7) The width is equal to 2 /i of its hight, or two spaces wide. 


LESSON 90. 


THE CAPITAL LETTER KIT. 



1. Describe and analyze the'capital Q according to Ride I. 

(1) The capital letter Q begins on base line. 

(2) The first stroke is a full convex curve, made 
upward to top line, where it unites with a shaded 

eoncave curve, which is brought down to base, forming an 
inverted oval, which combines with a horizontal compound 
-curve, forming a loop at base, and completes the capital letter Q. 

(3) It ends at head line. 

(4) One shade on main stroke of letter. 

(5) Three spaces high. 

(6) Three spaces wide. 

(7) Principle 1, 2, 1 and 2, form the capital letter Q. 

2. Write and explain the capital Q according to Ride II. 

(1) Width of inverted oval, 1^ spaces. 

(2) Width of small loop, Yz space. Length of 
loop, horizontally, one space. 

(3) One oval turn at the top of the letter. 















104 


FAKKIAN FEKAJAKSHIP. 


(4) Middle shade, heaviest at centre of main stroke. 

(5) One short turn near base line. 

(6) Main hight of letter, three spaces. Each stroke same 
hight, excepting the loop and final curve. 

(7) Its width and hight are equal, or three spaces each. 


LESSON 91. 



THE CAPITAL LETTER AR. 

Describe and analyze the capital R according to Rule 1. 

(1) The capital letter R begins at intermediate line. 

(2) The first stroke is a capital stem, which ismado 
. downward from the top and shaded on concave curve, 

near base, where it unites with a full convex curve, made up¬ 
ward to top line and there unites with a downward concave 
curve, joining the capital stem near the middle, forming a loop, 
combines with a dowmward compound curve, or wave line, 
unites at base with a concave curve, which is made upward, and 
completes the capital letter R. 

(3) It ends at head line 

(4) One shade on the first stroke, near base line. 

(5) Three spaces high. 

(6) Three spaces wide. 

(7) Principle 1, 2, 1, 2, 2, 1 and 2, form the capital letter R. 

■2. Write and explain the capital R according to Rule 11. 

(1) Distance between capital stem and full convex 
curve, 1 Yz spaces. Distance between capital stem and 
concave curve at top, ^ space. Distance between 
capital stem and compound curve, at base, 1 spaces. Distance 
between compound curve, or short wave line, and final curve 
at held line, one space. 

(2) Width of loop, horizontally, % space. Crossing of 
capital stem by small loop at mid-hight of the letter. 

(3) Two upper turns, viz.: oval and short. 

(4) Middle shade, heaviest near base line. 

(5) Two lower turns, viz.: oval and short. 

(6) Main hight of letter, three spaces. Hight of capital 
stem, above base line, two spaces. 

(7) Its width and hight are equal, or three spaces each. 














THE CAPITAL LETTER ES. 


105 


LESSON 92. 


Z 




THE CAPITAL LETTER ES. 

1. Describe and analyze the capital S according to Ride 1. 

(1) The capital letter S begins on base line. 

(2) The first stroke is a full, upward concave 
curve, unites the top with the capital stem, which is 

made downward, shaded on concave curve, near base line, and 
completes the capital letter JS, 

(3) It ends near the middle of letter. 

(I) One shade on the second stroke, near base line. 

(5) Three spaces high. 

(6) Two spaces wide. 

(7) Principle 2, 1, 2 and 1, form the capital letter S. 

°2. Write and explain the capital S according to Rule II. 

(1) Width of oval, at head line, two spaces, which 
is equally divided by the full concave curve. 

(2) Width of loop at top, space. Length of 
loops, each, 1% spaces. Cross of loops, at mid-hight and 
near base of letter. 

(3) One short turn, at the top letter. 

(4) Middle shade, heaviest near centre concave curve of stem. 

(5) One oval turn near base. 

(6) Main hight of letter, three spaces. Width of oval, 
horizontally, two spaces. Hight of oval, 1% spaces. 

(7) Its width is equal to 2 /z of its hight, or two spaces wide. 



LESSON 93. 


THE CAPITAL LETTER TE. 


Describe and analyze the capital T according to Rule 1. 

(1) The capital T begins at intermediate line. 

(2) The first stroke is a capital stem, which is 
_ made downward from the top and shaded on con¬ 
cave curve, near base. It begins again at intermediate line to the 


& 

~ZL 




8 

















106 


FARRIAN PENMANSHIP. 


left of the capital stem, with simple curves, forming a loop oval, 
which combines at the top with a horizontal, compound curve, or 
wave line, and completes the capital letter 1 . 

(3) It ends at top line. 

(4) One shade on the first stroke, near base line. 

(5) Three spaces high. 

(6) Three spaces wide. 

(7) Principle 1, 2, 1, 1, 2, 1 and 2, form the capital letter T. 

8. Write and explain the capital T according to Rule II. 

. —- (1) Width of base oval, laterally, two spaces. 

Full width of top stroke, or curves, two spaces. 

_ (2) Width of loop oval, % space. Length of 

inverted loop oval, one space. Crossing of loop, near the top. 

(3) Two oval turns, near the top of letter. 

(4) Middle shade, near centre concave curve of capital stem. 

(5) One oval turn, near base line. 

(6) Main hight of letter, three spaces. Base oval, 1^4 spaces 
high. Hight of capital stem, two spaces. 

(7) Its width and hight are equal, or three spaces each. 


LESSON 94. 


THE CAPITAL LETTER U. 


1. Describe and analyze the capital U according to Ride I. 
(1) The capital letter U begins on base line. 

/ j/y (2) The first stroke is a full convex curve, which is 

(/// made upward to top line, where it unites with a 


shaded compound curve, which is brought down to base, form¬ 
ing a modified oval. To this is joined a concave curve, which 
is made upward to intermediate line and there joins, angularly, 
with a downward straight oblique line, uniting at base with a con¬ 
cave curve, which is made upward, and completes the capital U. 

(3) It ends at head line. 

(4) One shade on the second stroke, heaviest near the middle.. 

(5) Three spaces high. 

(6) Three spaces wide. 











THE CAPITAL LETTER U. 


10T 


(7) Principle 1, 2, 1, 2, 3 and 2, form the capital letter TJ. 
Write and explain the capital U according to Rule 11. 

(1) Width of modified oval, one space. Distance 
from oval to straight line, one space. Distance from 
straight line to end of final stroke, one space. Width 
of opening of modified oval at base, ^ space. Distance between 
lower turns, one space. Hight of final curve, one space. 

(2) No loop or cross. 

(3) Two upper turns, viz.: oval and angular. 

(4) Middle shade, heaviest at centre of compound curve. 

(5) Two lower, short turns at base line. 

(6) Hight of oval, three spaces, second part, two spaces, 
and third part, one space. Its main hight is three spaces. 

(7) Its full width and entire hight are equal, or three 
spaces each. 



LESSON 95. 


THE CAPITAL LETTER VE. 


Describe and analyze the capital V according to Rule 1. 

(1) The capital letter V begins on base line. 

(2) The first stroke is a full convex curve, made 
upward to top line and there unites with a shaded com¬ 
pound curve, which is brought down to base, forming a modified 
oval. To this is joined a compound curve or wave line, which 
is made upward, and completes the capital letter V. 

(3) It ends at intermediate line. 

(4) One shade on the second stroke, heaviest near the middle. 

(5) Three spaces high. 

(6) Two spaces wide. 

(7) Principle 1, 2, 1, 2 and 1, form the capital letter V. 

Write and explain the capital V according to Rule 11. 
(1) Width of modified oval, one space. Opening 
of oval at base, }4 space. Distance between oval 
and end of final compound stroke, one space. 















108 


FARRPAN PENMANSHIP. 


(2) No loop or cross. 

(8) One upper, oval turn. 

(4) Middle shade, heaviest at centre of main stroke. 

(5) One lower, short turn. 

(6) Hight of oval, three spaces, final part, two spaces. 

(7) Its width is equal to Yz of its hight, or two spaces. 


LESSON 96. 


THE CAPITAL LETTER DUBELU. 

1. Describe and analyze the capital W according to Rule /. 

(1) The capital letter W begins on base line. 

(2) The first stroke is a full convex curve, made 
upward to top line, where it unites with a shaded 

concave curve, which is brought down to base line, forming the 
inverted oval. To this is joined a full concave curve, made 
upward to the hight of the letter, joining, angularly, with the 
straight oblique line, which is brought down to base line, 
joining, angularly, with a convex curve, which is made upward 
and completes the capital letter W. ' 

(8) It ends at intermediate line. 

(4) One shade on the second stroke, near the middle. 

(5) Three spaces high. 

(6) Four spaces wide. 

(7) Principle 1, 2, 2, 8 and 1, form the capital letter W. 

Write and explain the capital W according to Rule IL 
(1) Width of inverted oval, two spaces. Open¬ 
ing of oval at base, % space. Distance between 
centre of oval and straight line, one space. Dis¬ 
tance between top of oval and point of angular joining, 1^ 
spaces. Distance between angular joinings at base, 1% spaces. 
Distance from straight line, to end of final stroke, one space. 

(2) No loop or cross. 

(3) Two upper turns, viz.: oval and angular. 













THE CAPITAL LETTER DUBELU. 


109 


(4) Middle shade, heaviest near centre of main stroke. 

(5) Two lower, angular turns. 

(6) Main hight of letter, three spaces. Hight of oval and 
second part, three spaces ; hight of final curve, two spaces. 

(7) Its width is equal to 1 J /i times its hight, or four spaces. 


LESSOX 97. 


& 


THE CAPITAL LETTER EX. 

1. Describe and analyze the capital X according to Rule 1. 

(1) The capital letter X begins on base line. 

(2) The first stroke is a full convex curve, made 
X upward to top line, uniting with a shaded concave 


curve, which is brought down to base, forming an inverted 
oval. It begins again at top line, one space to the right of the 
inverted oval, with a full downward convex curve, uniting at 
base with a short concave curve, which is made upward, and 
completes the capital letter X. 

(3) It ends at head line. 

(4) One shade on the second stroke, near centre of letter. 

(5) Three spaces high. 

(6) Three spaces wide. 

(7) Principle 1, 2, 1 and 2, form the capital letter X. 

8. Write and explain the capital X according to Rule II. 

(1) Main width of inverted oval, two spaces. 
Width of oval on base, % space. Distance between 
top of oval and second part of letter, one space. 
Distance between oval and final stroke, at base, 1}4 spaces. 

(2) No loop or cross. 

(3) One upper, oval turn. 

(4) Middle shade, heaviest at centre of main stroke. 

(5) One lower, short turn. 

(6) Main hight of letter, three spaces. Final concave curve, 
one space high. 

(7) The width and hight are equal, or three spaces each. 













110 


FARRIAN PENMANSHIP. 


LESSON 98. 


THE CAPITAL LETTER WI. 

1. Describe and analyze the capital Y according to Ride 1. 

(1) The capital letter Y begins on base line. 

(2) The lirst stroke is a full convex curv^, made 
upward to top line, uniting with a shaded compound 
curve, which is brought down to base line, forming a 

modified oval. To this is joined an upward concave curve, 
uniting, angularly, at intermediate line with a compound curve, 
or wave line, which is made downard from the top, to inter¬ 
mediate line below, where it unites with a light, full convex 
curve, which is made upward, and completes the capital letter Y 

(3) It ends at head line. 

(4) One shades on the second stroke. 

(5) Five spaces long, three above and two below base line. 

(6) Three spaces wide. 

(7) Principle 1, 2, 1, 2, 1, 2 and 1, form the capital Y. 

#. Write and explain the capital Y according to Rule II. 

(1) Width of modified oval, one space. Opening 
of oval, at base, ^ space. Distance between oval 
and wave line, one space. Distance between wave 
line and end of final stroke, one space. 

(2) Width of loop, x /z space. Length of loop, 
two spaces. Loop crosses at base line. 

(3) Two upper turns, viz. : oval and angular. 

(4) Middle shade, heaviest at centre of main stroke of 
inverted oval. 

(5) Two lower, short turns. 

(6) Main length of letter, five spaces. Hight of oval, 
three spaces. Length of second part, four spaces, two above 
and two below base line. Full length, five spaces. 

(7) Its full width is equal to J of its length, or three spaces. 













THE CAPITAL LETTER ZE. 


Ill 


LESSON 99. 



THE CAPITAL LETTER ZE. 

1. Describe and analyze the capital Z according to Rule 1. 

(1) The capital letter Z begins on base line. 

(2) The first stroke is a full convex curve, made 
upward to top line, uniting with a shaded concave 
curve, which is brought down to base, forming an 

inverted oval. To this is joined a simple concave and convex 
curve, forming a double loop, and completes the capital letter Z. 

(3) It ends at head line. 

(4) One shade on the second stroke, near middle of oval. 

(5) Five spaces long, three above and two below base line. 

(6) Three spaces wide. 

(7) Principle 1 , 2, 2 and 1 , form the capital letter Z. 

Write and explain the capital Z according to Rule 11. 

(1) Width of inverted oval, two spaces. Opening 
of inverted oval, at base, % space. 

(2) Width of short loop, y space. Length of short 
loop, above base line, x /2 space, Width of long 
loop, y? space. Length of long loop, two spaces. Long 

loop crosses at base line. Distance of loops, at base, one space. 

(3) Two upper, oval turns. 

(4) Middle shade, heaviest at centre of main stroke. 

(5) Two lower, short turns. 

(6) Main hight of letter, three spaces. Full length, five 
spaces. Hight of oval, three spaces. Length of final convex 
curve, three spaces. 

(7) Its width is equal to f of its entire length, or three spaces. 












112 


FARRIAN PENMANSHIP. 


LESSON 100. 


THE CHARACTER AND. 


1. Describe and analyze the character & according to Rule 1. 

(1) The character <L begins at intermediate line. 
¥/'y (2) The first stroke is the capital stem, which is 

/ made downward from the top and shaded on concave 
curve near base line, and there unites with a light compound 
curve, or wave line, made upward to top line, combining with a 
downward convex curve, which crosses the beginning curves, 
forming a double loop, and unites with a short concave curve, 
which is made upward, and completes the character cfi. 

(3) It ends at head line. 

(4) One shade on the first stroke, near the middle. 

(5) Three spaces high. 

(6) Two spaces wide. 

(7) Principle 1, 2, 1, 2, 1 and 2, form the character c§. 

1. Write and explain the character & according to Rule II. 

(1) Distance between capital stem and compound 
curve, or wave line, Y space. 

(2) Width of loop, Yu space. Length of loop, two 
Lines cross at head line. Width of oval loop, y 2 

Length of loop 1% spaces. Final crossing of loop, y 2 


spaces 
space. 

space above base line. 

(3) One upper, short turn. 

(4) Middle shade, heaviest at centre of concave curve of 
the capital stem. 

(5) One lower, short turn. 

(6) Main hight of character, three spaces. Hight of stem, 
two spaces. Main hight of loop, above base line, three spaces. 

(7) Its width is equal to 2 /z of its hight, or two spaces. 











MUSCLES. 


113 


LESSON 101. 


MUSCLES. 


1. Define the term muscle as used in penmanship. 

Muscle is composed of many fleshy fibres of various shapes 
and sizes, bound tightly together, forming bundles. 

3. How many muscles are there in the human body f 

In all there are upwards of 400. 

3. How do these muscles work, when writing f 

They work, or act, upon what is called the bones of the 
Tody, of which there are in all upwards of 200. 

ip. Describe the bones of the body. 

The bones serve as a framework of the body. They give it 
shape, strength and durability. They are composed of animal and 
mineral matter, varying according to the age. The former 
gives toughness and the latter hardness. This composition of 
animal and mineral matter, called bone, is the levers upon which 
the muscles act to produce motion or movement in writing. 

5. How many muscles and bones are used , when writing ? 

All the muscles and bones of the body should be employed. 

6. Name the bones of the shoulder, arm and hand, em¬ 
ployed, when writing at the desk. 

The clavicle, scapula, humerus, ulna, radius, carpal, meta¬ 
carpal and phalanges. 

7. Name and describe the principle muscles of the shoulder, 
which are employed in writing. 

The muscles of the scapula, or those muscles located in the 
shoulder at the head of the humerus bones. The scapula is 
covered with muscles on both sides which are firmly inserted 
into the upper end of the humerus. The office of these muscles 
is to rotate or turn the humerus when writing, as well as to 
keep it in place and protect it where it articulates, or con¬ 
nects with the scapula and shoulder. 




114 


FARRIAN PENMANSHIP. 


8. Name and describe the 'principal muscles of the upper 
arm employed in writing . 

They are the bicep and tricep muscles. The former means 
two points of attachment, and flexes or bends the arm towards 
the body when writing. They arise from the upper part, or 
head, of the humerus and scapula, and are nicely inserted into 
the upper end of the radius. It is a fusiform muscle. The 
latter means three points of attachment, and is attached to the 
ulna instead of the radius. They are nicely situated on the 
posterior part of the humerus, and give great force in writing. 
By securing the proper control of these muscles they give 
great power of execution, and the writer can thereby effect a 
very rapid movement. 

9. Name and describe the principal muscles of the lower arm . 

They are called the muscles of the forearm. For the pur¬ 
pose of moving the hand and fingers, the lower, or forearm, is 
abundantly supplied with many muscles, most of which are 
fusiform in their appearance. Most of these muscles run in a 
parallel direction to the bones of the arm, except those which 
perform the act of pronation and supination, lie obliquely, 
and some at right angle to the longer muscles. In this part of 
the arm the muscles are noticeable for slenderness of form and 
fineness of tendon. In length, the tendons, in many instances, 
are equal to the muscular fibre. There are a few short, thick 
muscles below the wrist, for the purpose of moving the thumb 
and little finger. 

10. Describe the tendons of the fingers . 

The beautiful and exquisite arrangement of the tendons, 
which are attached to the phalanges, for the action of the 
fingers, show the skill and contrivance of the Deity. A beau¬ 
tiful set of four muscles, coming from a common muscle of the 
forearm, is attached to the base of the second phalanx of each 
finger, and another set to the third row of phalanges. The 
muscles, which send the tendons to the second phalanx lies 
just above the other set of tendons, where the superior tendons 
join the second phalanx, which, are each split into two parts, 
through which the tendons of the lower muscle pass to the last 
phalanx, and thereby move freely without interruption from the* 
superior tendons, or muscles. 



WRITING MUSCLES. 


115 


11. Describe the muscles of the thumb and little finger , and 
give their principal office in writing. 

There are several muscles of the forearm, which give their 
tendons only to the thumb and little finger. Their office, or 
use, is to give a lateral, or side to side, motion, as well as to 
give strength and variety of movement so necessary in writing. 

1%. What muscles are employed in keeping the body in an 
upright , or erect position , when writing f 

The muscles of the hack, of which there are thirty pairs, 
of various forms and sizes, nicely arranged in six layers. The 
largest of these muscles, the dorsal muscle, is of great value to 
the arm in producing a downward and backward movement 
when writing. 

13. State how many kinds of muscles in the human body. 

There are two kinds of muscles, viz.: voluntary, those 
which are under the control of the will, as the muscles of the 
shoulder, arm and fingers ; involuntary, those which are not 
under the control of the will, as the heart, and in some cases, 
the muscles of the eye. 

If. What is necessary in order to secure the proper control 
of the muscles in writing f 

Plenty of sleep, proper diet and a sufficient amount of sys¬ 
tematic exercise in the fresh, open air and sunlight. 


LESSON 102. 


MISCELLANEOUS. 

1. Give the number and nam,e of the chief principles of 
the Farr ion system of penmanship. 

There are three chief principles, viz.: Principle One, 
Principle Two, and Principle Three, called the convex curve* 
the concave curve and the straight oblique line. 

Outline a good method of teaching penmanship . 





116 


FARRIAN PENMANSHIP. 


(1) Teach the form of the characters used in writing by 
means of the elements or chief principles employed in penmanship. 

(2) Teach the description and analysis of the characters 
according to Farrian Rule I. 

(3) Teach the explanation of the characters according to 
Farrian Rule II. 

(4) Drill the class in writing the characters, words, etc., 
according to time, with the use of the metronome, or other 
musical instrument. 

(5) Give individual instruction to each member of the class. 

(6) Give general instruction and criticism to the entire class. 

(7) Review preceding lessons and exercises. 

3. Name and describe the different kinds of letters used 
in penmanship. 

There are two kinds, viz. : plain and artistic. Plain letters 
are composed only of the requisite elements, or principles, for 
the proper formation of the letters, with the fewest possiblo 
strokes consistent with legibility, rapidity and beauty. Artistic 
letters are those which, besides having the proper combination 
of elements or principles, combine with extra strokes, curves 
or lines, which give to the letter an easy, graceful and beautiful 
appearance, producing a pleasing effect to the eye. 

h. State what is necessary in order to become a good penman. 

A thorough idea of the correct form of all the characters 
used in writing, and a ready command of the body, arm, muscles, 
and pen, to form them. 

5. Give the general ride for beginning and ending the s\nall 
letters. 

All the small letters, except i and begin on base line and 
end at head line. 

6. What forms ham each letter of the alphabet? 

They have two forms, viz.: the small form and capital form, 
respectively. 

7. What is the writers' cramp ? Give remedy. 

It is a cramping or spasmodic contraction of the muscles 
employed in writing, especially the muscles of the fingers. It 
may be prevented by changing the method of holding the pen, 
the use of a desk and chair of the proper hight, loose sleeves, 




MISCELLANEOUS. 


117 


giving the muscles of the arm free motion, a good quality of 
pens, paper and the employment of the muscular movement. 

8. When is the best time for the recitation and practice in 
penmanship in the jpubllc schools f 

The time for recitation and practice does not make but little 
difference, except, it should not be just after a hearty meal or 
while the nerves of the children are excited from games of 
of play or calisthenics exercises. 

9. Describe the position for blackboard writing. 

(1) Secure a clear conception of the correct form of the 
characters and sufficient skill to execute them, uniformly, in 
strong, smooth lines. 

(2) Stand perfectly erect, with the left side inclined to the 
board, the feet squarely upon the floor, moving the body along 
as the writing requires. 

(3) Take the crayon between the thumb, middle and index 
fingers, with the larger end near the centre of the palm of 
the hand. 

(4) When writing, press the crayon against the board 
squarely and obliquely. 

(5) While writing, turn the crayon with the fingers so as 
to keep the sharp edge against the board. 

(6) To form a shade, make a quick, firm pressure, upon the 
edge of the crayon. 

(7) In forming the upward strokes, bring the sharp edge of 
the crayon against the board, and in the downward strokes 
bring the level edge against the board, keeping the eye on an 
imaginary ruled line. 

10. Give a short method of securing and conducting a 
special writing class. 

(1) Advertise the school with printed matter and engraved 
work of nicely executed specimens of plain and artistic pen¬ 
manship. In advertising the school, state that the tuition will 
not be due till the middle of the term. Beginning at the middle 
of the term, all collections can usually be made by the close 
of the school. 

(2) Place some neatly framed samples of your penmanship 
on exhibition in the cities where you mean to organize your 



118 


FARRIAN PENMANSHIP. 


schools. It is a good plan to offer some suitable prize to the 
one who makes the greatest advancement in penmanship during 
the term. 

(3) On opening the school, thoroughly explain and illustrate 
the correct method of holding the pen, movement, position of 
the paper, ink and body, when writing. Be sure the explanations 
are understood by the class before proceeding further. Then 
offer for sale some good work on penmanship, so that each 
member of the class may have a book for reference. 

(4) During the first lesson, before beginning practice, ask 
each member of the class to write with pen and ink, a specimen 
of their handwriting, with date and name, as follows :— 




^anc/ioufc?it 


id a dfiectmen of m 

/(^ote /eddond tn /ieno t 


These should be nicely laid aside and preserved for further use. 

(5) The school should continue twelve lessons, of two hours 
each, with a short intermission at the middle of each lesson. 

(6) The last lesson: Call the school to order, distribute copies 
and proceed as usual. Review, describe, analyze and explain 
the characters employed in penmanship. After intermission, 
again ask each member of the class to write a specimen of their 
handwriting, with date and name, like the following :— 








-jsz 



The instructor should retain these specimens for future use. 

(T) Now state the offer made at the beginning of the term and 
select three judges from the audience, not members of the 
school, to award the prize to the one most worthy, or the one 
making the greatest progress in writing. After the judges have 
decided, announce the name of the student, and present the 
prize accordingly. In closing, advise all to purchase a good 
work on penmanship and continue their study, and practice in 
writing, according to your directions, until they have mastered 
the art of all arts. 








REVIEW. 


119 


LESSON 103. 


REVIEW. 

1. Define penmanship, writing, drawing, art and means. What 
does penmanship include ? Define legibility, rapidity and beauty. 

2. How is penmanship taught ? How can a ready command of 
the pen be secured ? Give method of teaching penmanship to a pri¬ 
mary class. When should a child begin to write ? Give method of 
teaching an advanced class in penmanship. 

3. With which hand should a pupil learn to write ? Give points 
to be secured in teaching penmanship. 

4. How should physical and mental training be taught ? Which 
should precede, the correct position, or the form of the characters ? 
Give ten points for criticizing the work of a writing class. What is 
the secret of learning penmanship? What is the ally of writing? 
What is the difference in writing and drawing? 

5. What should a pupil learn to write first? Why? Outline in 
order, the first and second years’ work in penmanship. The third 
and fourth. The fifth and sixth. The seventh and eighth. 

6. How many characters employed in penmanship? Classify 
them in order. Where should the capitals be used in writing? The 
character & ? The small letters ? The longs? The terminating t ? 
The practical r ? Zero ? 

7. Define the terms: Physical training, business writing, plain 
writing and artistic writing. 

8. Describe pen, holder, paper, ink, pen wiper, blotter, chair and 
table best suited for use in writing. 

9. State what effect position has upon writing. Give effect > of 
an incorrect position. Give correct position of the body when writing. 
What are the essentials of a good position ? 

10. How far is it, on a scale of thirds, from blue line to blue line, on 
regular ruled writing paper ? 

11. Define theory. Give points to secure interest in penmanship. 
Name a few essentials to good writing. Give requisites for plain 
business writing. 

12. What determines the slant in writing? Define the term hair 
line. Give method of securing a good position and rapid movement. 

13. Define the terms : Philosophy of movement, extended move¬ 
ment, tracing movement, and combinations, in order. 

14. Define the terms : Engrossing, photo-engraving, metronome, 
■chirythmography, and give the use of each, in order. What is a mono¬ 
gram ? Make one. 




120 


FARRIAN PENMANSHIP. 


LESSON 104. 


REYIEW. 

1. Give seven reasons for learning penmanship. State what is 
the probable worth of a good handwriting. How much time should 
be devoted daily to the subject of penmanship ? 

2. Name the articles of which writing material consists. 

3. Define positions. How many positions are there employed in 
penmanship? Describe each. State which is the best position for 
general business purposes. 

4. Give the correct method of holding the pen, and recite the 
rules for beginning and closing the writing exercise. 

5. Define movement. How many movements are employed in 
penmanship? Describe each in order. 

6. Define angle. By what is an angle measured ? How is the 
circle divided? How many degrees in a circle? In a quadrant? 
How many different kinds of angles are there ? Describe each in order. 
State which form of the angle is employed in penmanship. 

1 . Define a line. How many different kinds of lines are there 
employed in penmanship ? Describe each in order. Define a simple 
and compound curve. Give an example and illustrate where the 
different kinds of lines, or principles, are employed in writing. 


LESSCN 105. 


REYIEW. 

1. Define measurement, as used in penmanship ? 

2. Give the unit for measuring the hight, length and width of 
the character. 

3. Define slant. How many kinds of slants are there ? Describe 
main slant; connective slant. For what is each used, respectively ? 
What should be the main slant of all the characters ? 

4. Define form. State how lines are combined to form the char¬ 
acters. Define an angular turn, or joining, short turn, oval turn, loop 
and cross, respectively. Describe how to make each. What two 
forms has each character of the alphabet ? Give number and name 
of each form. 

5. Define oval. How many different kinds of ovals are there? 
Describe each in order. Describe the capital stem. 







REVIEW. 


121 


6. What are principles ? How many principles are there ? Write, 
number and give descriptive name of each, in order. From what are 
the principles taken ? 

7. Define staff, as used in penmanship. Of what does it consist ? 
What is its use ? Make one. Write all the characters employed in 
penmanship upon the writing staff. Define base line, head line, inter¬ 
mediate line, top line, intermediate line below, and head line below, in 
order. What is an autograph ? 


LESSON 106. 


REVIEW. 

1. Define spacing. What is a space in penmanship? Give rule 
for spacing between letters, words and sentences, respectively. 

2. Define shade. How many kinds of shades are there? Name 
and describe each in order. How many shades has each capital, 
respectively ? 

3. Into how many classes are the figures divided ? Give name of 
each class. Form the figures. 

4. Into how many classes are the small letters divided ? How 
many minimum letters are there ? Stem letters ? Loop letters ? Write 
the letters of each class, in order. 

5. Into how many classes are the capitals divided? Name the 
oval letters. Name the stem letters. Write the letters of each class. 

6. Becite Buie I for describing and analyzing the characters. 
Becite Buie II for explaining the characters. 

7. Define the term monogram. 

Ans. A monogram is initial, letters , interwoven , presenting the appear¬ 
ance of a single character. 


LESSON 107. 


BEYIEW OF SMALL CHABACTEBS. 

1. What is the hight of the figures? Give the width of each. 
Which begin with the convex curve ? Concave curve ? Straight line ? 
How does each end ? Where ? 

2. Give the hight and width of the minimum letters in alphabet¬ 
ical order. 

3. Give the hight or length and width of the stem letters in 
alphabetical order. Which extend only, above base line ? Which of 
them extend below base line ? How many of the small letters are one 


9 







122 


FARRIAN PENMANSHIP. 


•space in hight or length ? Two spaces ? Three spaces ? Five spaces ? 
How many are two spaces wide? Three spaces? Four spaces? 

4. Give hight or length and width of the loop letters in alpha¬ 
betical order. Which of them extend only above base line ? Which 
•extend two spaces below base line? One space ? 

5. Which class of the small letters are the shortest ? Which are 
the longest ? Which are the widest ? Which of the small letters begin 
with the convex curve ? Concave curve ? Straight oblique line ? How 
does each end ? 

6. Where should each small letter begin and end ? Give the ex¬ 
ception to this rule. In which of the small letters does the straight 
oblique line appear? In which of the small letters is it not employed ? 
Where do the small loop letters, above base line, cross ? Where do the 
loop letters cross which extend below base line ? 

7. Write the small letters in alphabetical order. Give the hight 
or length of the small letters in alphabetical order. Give the width 
of the small letters in alphabetical order. Give name of shade, if any, 
of each small letter, according to the Farrian system of penman¬ 
ship, in alphabetical order. 


LESSON 108. 


REVIEW OF CAPITALS. 

1. Give the prominent parts employed in the formation of the 
capital letters. 

2. In how many capitals is the direct oval employed? Name 
them in alphabetical order. In how many capitals is the inverted 
oval employed? Name them in alphabetical order. In how many 
capitals is the modified oval employed? Name them in alphabetical 
order. In how many cap tals is the capital stem employed? Name 
them in alphabetical order. 

3. What is the main hight of all the capitals above base line, 
respectively ? 

4. How many capitals extend below base line? Name them in 
alphabetical order. Give their full length. 

5. How many capitals are three spaces high? Name them 
in alphabetical order. How many capitals are five spaces long? 
Name them in alphabetical order. 

6. How .many capitals are two spaces wide? Name them in 
alphabetical order. How many capitals are three spaces wide ? Name 
them in alphabetical order. How many capitals are four spaces 
wide? Name them in alphabetical order. Which capitals are the 
most difficult to execute ? 

7. Write the capitals in alphabetical order and give the hight, or 
length, and width and name of shade of each, respectively. 







GENERAL REVIEW. 


123 


LESSON 109. 


GENERAL REVIEW. 


1. Review penmanship, material, position, penholding, writing 
exercises, movements, angle, lines, measurement, slant, form, oval, 
principles, staff, spacing, shading, classification, muscles and miscel¬ 
laneous. Give definitions in order. 

2. Describe, analyze and explain the figures according to the 
Farrian system. 

3. Describe, analyze and explain the minimum letters according 
to the Farrian system. 

4. Describe, analyze and expla'n the stem letters according to the 
Farrian system. 

5. Describe, analyze and explain the loop letters according to the 
Farrian system. 

6. Describe, analyze and explain the capital oval letters according 
to the Farrian system. 

7. Describe, analyze and. explain the capital stem letters according 
to the Farrian system. 


LESSON 110 


MISCELLANEOUS REVIEW. 


1. State what culture is to be secured by a correct method of 
learning penmanship. 

2. State when the pen and ink should first be employed in teach¬ 
ing penmanship. Describe the different kind of turns or joinings 
employed in penmanship. 

3. Give methods of teaching penmanship to primary and advanced 
classes, respectively. 

4. Define main slant, connective slant, angle, oval, lines, form, 
staff, shade, space and principle, according to the Farrian system. 

5. Define movement, position. measurement, penmanship, material 
and writing, according to the Farrian system of penmanship. 

6. Describe the correct position of the body, arms, hands, fingers 
and the movement of the pen when writing at the desk. 

7. Write the word : Describe, analyze and 

explain the letters in the above word, according to the Farrian system. 

8. Write the following sentence as a specimen of your penmanship : 






■d- -t-d* 


Describe, analyze and explain the above sentence. 

9. Write a sentence of not less than ten words illustrative of your 
penmanship. Analyze it. 










124 


FARRIAN PENMANSHIP. 


10. Write the figures in order. Describe, analyze and explain 
them, according to the Farrian system of penmanship. 

11. Write the small letters in order. Describe, analyze and 
explain them, according to the Farrian system. 

12. Write the capital letters in order. Describe, analyze and 
explain them, according to the Farrian system. 

13. Write a composition of 100 words, as a specimen of your pen¬ 
manship. 

14. Review the preceding reviews. Describe, analyze and explain 
the words ‘ mine,” 4 mum” and ‘ minimum,” in Lesson 18, according 
to the Farrian system of penmanship. 


LESSON 111. 


FARRIAN MOVEMENT EXERCISE. 


Study and practice 


this exercise with the muscular movement. 




V~zr—zr—& 


27 















FARRIAN MODEL LETTER. 


125 


LESSON 112. 


FARRIAN MODEL LETTER. 

Study and practice this letter with the musculir mo 
ment. Describe , analyze and explain each word , in or 'e \ 








126 


FARRIAN PENMANSHIP. 


LESSON 118. 

F ARRIAN STANDARD CHARACTERS. 

Study and practice these characters , using the muscular move¬ 
ment. Describe, analyze and explain each character , in order. 





(//(A(A(l(AQ A 


































FARRIAN STANDARD ANALYSIS. 


127 


LESSON 114. 


FARRIAN STANDARD ANALYSIS. 

Analyze these characters and practice the copy , using the 
muscular and finger movements , in order. 



j 








































128 


FARRIAN PENMANSHIP. 


LESSON 115. 

FAKHIAN BUSINESS HAND. 


Study and practice these copies , using the muscular move¬ 
ment. Describe , analyze and explain each letter and word, in order. 





FARRIAN PLAIN ALPHABETS. 


129 


LESSON 116. 


FARRIAN PLAIN ALPHABETS. 

Study these alphabets and practice copies, using the muscular 
movement. Describe , analyze and explain each letter, in order. 












130 


FARRIAN PENMANSHIP. 


LESSON 117. 

FARRIAN MEDIUM HAND. 


Study and practice these copies , using the muscular movement , 










FAR RIAN FREE ARM CAPITALS. 


131 


LESSON 118. 

FARRIAN FREEARM CAPITALS. 

Study these capitals and practice the entire alphabet , us ing 
thefreearm movement . Describe , analyze and explain each , in order . 



# 







s 


132 FARRIAN PENMANSHIP. 

LESSON 119. 

FARRIAN MARKING CHARACTERS. 

Study and practice these characters , using the muscular and 
freearm movements . Describe , analyze and explain each , m order. 

ABCDEFGHI 

JKLMNOPQR 
STU VWXYZ 



jklmnopgr 

siuvwxyz 

& 1234367890 




FARRIAN BUSINESS LETTER. 


13a 




LESSON 120. 

FARRIAN BUSINESS LETTER. 

Study and copy this letterusing the muscular and combined 
movements . Describe , analyze and explain each word , in order. 








134 


FARRIAN PENMANSHIP. 


LESSON 121. 


FARRIAN OVALS AND AUTOGRAPHS. 

Study and 'practice these ovals and autographs , using both the 
muscular and freearm movements. 













FARRIAN ARTISTIC PENMANSHIP. 


135 


LESSON 122. 

FARRIAN ARTISTIC PENMANSHIP. 

Study this drawing and re-produce it, using all the movements, 
viz.: Finger, muscular, freearm and combined movements. 



















136 


FARRIAN PENMANSHIP. 


LESSON 123. 


TRACING PROCESS. 

Describe the tracing process as employed in artistic penmanship. 

(1) The tracing process is a method of using a transparent 
tracing paper by placing it over the writing, or picture, to be 
re-drawn; and then tracing all the outlines and shadings of the 
entire picture until a perfect outline of the original drawing has 
been taken upon the tracing paper. 

(2) After this has been done, the tracing paper is turned 
over and the whole of the other side is blacked with a lead pencil. 

(3) Place the blackened side of the tracing paper on 
the drawing paper. 

(4) Take a hard, well sharpened, lead pencil and re-trace 
over all the outlines and shadings of the entire picture upon the 
tracing paper. 

(5) This penciling prints a perfect copy of the entire 
picture on your drawing paper. 

(6) Remove the tracing paper, take a pen and ink and 
finish the drawing by putting ink in the place of the marking 
and shading, according to the original picture, which has been 
transcribed from the tracing paper to the drawing paper. 

(7) After the lead pencil outlines of the picture, upon the 
drawing paper, have been perfectly re-traced with pen and ink, 
carefully erase all the pencil markes with a rubber and the draw¬ 
ing is finished. 


LESSON 124. 


ENGRAVING. 

Give direction for preparing copy for photo-engrav ing. 

(1) Very beautiful prints are now made from crayon draw¬ 
ing ; but the finest results in photo-engraving are obtained only 
from pen drawings. Every line in the copy to be engraved 
must be drawn with black ink. 







ENGKAVINGS. 


13 ? 


(2) Fine steel pens are the best, making finer, smoother and 
more even lines than any other. A pen is worn out at the end 
of a few days use and should be laid aside, and its place sup¬ 
plied by a new one. 

(3) The ink used must he black. It is not necessary that 
the lines in a copy be coarse or heavy. Lines may be very fine, 
but they must be perfectly black and free from gloss. A bril¬ 
liant engraving with beautiful, sharp, regular lines cannot be 
expected from pale ink or rough paper. 

(4) The paper should be of a well-finished, smooth, white 
surface. Some very artistic drawings can be made upon the 
finer qualities of unruled writing paper ; but for purposes of 
reproduction, the best results are secured from the use of the 
very best material. 

(5) The copy to be engraved should be larger than the 
desired plate. For all well-finished work, the copy should be 
twice the length and twice the breadth of the desired plate. 

(6) By the use of white lines a great saving of time can be 
accomplished. First, lay in the darker black with pen or brush, 
and then get the gradations by drawing in white lines with pen 
and white ink. 

(7) Never go over a line the second time until its first lines 
are perfectly dry. 

(8) If possible, always make a set of drawings to the 
same scale. 

(9) Never reinforce a line or lighten with white until the 
lines first drawn are perfectly dry. 

(10) Do not leave any lines, dots, blotches or pencil marks 
that are not to come out in the finished work; but in removing 
any of these be careful not to disturb any lines of the copy. 

(11) Always use a blotter under the hand to keep the paper 
and copy clean. 

(12) In preparing copy for engraving, never use blotters to 
take up ink from the drawing. Let it dry . 

(13) Never draw a copy for engraving in reverse order. 

(14) In preparing copy for engraving, leave at least one inch 
around the copy, so that it can be tacked to the camera board 
without injury to the drawing. 


10 



138 


FARRIAN PENMANSHIP. 


LESSON 125. 


SPECIMENS. 

Write the following autograph album verses and sign your 
signature to each , respectively , as specimens of your ha7idwriting . 

Go forth thou little volume, 

I leave thee to thy fate ; 

To love and friendship truly, 

Thy leaves I dedicate. 

Go little book thy destihed course pursue, 

Collect memorials of the just and true; 

And beg of every friend so near, 

Some token of remembrance dear. 

In leisure moments cast a look 
Upon the pages of this book ; 

When absent friends thy thoughts engage, 

Think of the one who writes this page. 

What’s the use of always fretting 
At the trials we shall find ; 

Ever strewn along our pathway, 

Travel on and never mind. 

May happiness ever be thy lot, 

Where ever thou shalt be, 

And joy and pleasure light the spot 
That may be home to thee. 

I can but add one little pearl. 

To all the gems about thee scattered ; 

And say again sweet artless girl, 

That all the poets have not flattered. 

When the golden sun is setting, 

And your mind from care is free; 

When of others you are thinking, 

Will you sometimes think of me. 

Think not, though distant thou art, 

Thou canst forgotten be; 

While memory lives within my heart, 

I will remember thee. 




SPECIMENS. 


139 


In this fair garden plants shall grow 

And in their freshness bad and bloom; 

Plants to which love has beauty lent, 

And blossoms sweet of sentiment. 

What’er her rank, what'er her lot, 

Where’er her influence ranges; 

The art to bless is ne’er forgot, 

The will to comfort never changes. 

There are two souls whose equal flow, 

In gentle streams so calmly run, 

That when they part—they part! ah, no! 

They cannot part: their souls are one. 

Teem it not an idle thing 

A pleasant word to write, or speak; 

The face you wear, the thoughts you bring, 

A heart may heal or break. 

’Tis sweet to be remembered in the turmoil of this life, 

When struggling up its pathway or mingling in its strife; 

When wandering o’er earth’s border or sailing o’er its sea. 

’Tis sweet to be remembered, wherever we may be. 

Where’er I go, what'er my lonely state, 

Yet grateful memory shall linger here; 

And when, perhaps, you’re musing o’er my fate, 

You still may greet me with a tender tear. 

May friendship open unto you 

The path of peace and holy love; 

May life continual joys renew, 

And hope not too deceptive prove; 

May sweet contentment round you throw 
Such bliss as may be found below. 

What’s in your mind let no one know, 

Nor to a friend a secret show; 

For if your friend becomes your foe. 

Then all the world your secrets know. 




140 


FARRIAN PENMANSHIP. 







CORRESPONDENCE. 


141 


BLACK-BOARD ANALYSIS. 


CORRESPONDENCE. 


1. Parts of a letter. 

% Stationery. 

3. Kinds of letters. 

4. Use of capitals. 

•5. Punctuation. 

6. Blemishes. 

7. Literary items. 

8. Postal, etc. 

9. General directions. 
1-0. Model letters. 


11. Letters of application. 

12. Business letters. 

13. Letters of recommendation. 

14. Letters of condolence. 

15. Letters of friendship. 

16. Letters of introduction. 

17. Letters of congratulation. 

18. Invitations, acceptances, etc. 

19. General review. 

20. Poem-Write a letter tonight. 






142 


FARRIAN CORRESPONDENCE. 


LESSON 126 , 


PART II. 


CORRESPONDENCE. 


1. Parts of a Letter— 

(1) Heading. 

(2) Introduction. 

(3) Body. 

(4) Paragraphs. 

(6) Conclusion. 

(6) Folding. 

(7) Superscription. 


2. Parts of the Heading— 

(1) Position. 

(2) Items. 

(3) Punctuation. 


3. Parts of the Introduction — 

(1) Address. 

(2) Title. 

(3) salutation. 


1. Define correspondence. 

Correspondence is the art of composing and writing all 
kinds of letters. It may be defined as speaking by the pen or 
other instrument of writing. A letter is a communication 
between two or more persons. It may be defined as the in¬ 
tercourse between two or more persons by means of letters or 
messages. 

#. How many classes of letters are there f 

There are two classes, viz. : Public and private. Public 
letters include news letters designed for publication, reports and 
essays addressed to some person or parties. News letters are 
communications containing accounts of local places, persons and 
incidents addressed to the publishers of newspapers for publica¬ 
tion. Reports are generally compiled and published by county, 
state and national officials. Essays are usually written by 
professional and literary students and published in educational 
journals. Private letters are the most numerous. They include 
* letters of application, business letters, letters of recommenda¬ 
tion, letters of friendship, letters of introduction, letters of 
congratulation, etc. 

3. Nome the principal parts of a letter in order. 

1. The parts of a letter are: (1) heading, (2) introduction, (3) 
body, (4) paragraphs, (5) conclusion, (6) folding, (7) super¬ 
scription. 





CORRESPONDENCE. 


143 


b. Name the parts of the heading of a letter in order. 

The parts of the heading of a letter are : (1) position, 

(2) items, and (3) punctuation. 

5. Describe the heading of a letter and explain how it 
is written. 

The heading of a letter consists of the name of the city, 
town or postoffice at which the letter is written, and the date 
on which it is written. In writing from a city, give the name 
of the city, the name of the state, the name of the street and 
the number of yuur door. Or if you write from a school, its 
name should take the place of the number and name of the 
street. The date consists of the month, the day and the year 
in order. The heading of a letter should begin about an inch 
and a half from the top of the page and if the page is ruled, on 
the first ruled line of business sheets. The first line of the 
heading should begin a little to the left of the middle of the 
page. The second line of the heading should begin a little 
farther to the right than the first, and if it occupies more than 
two lines, the third line should begin a little farther to the right 
than the second. The day of the month, the year and in a city 
the number of the door should be written in figures, the rest in 
words. Begin each principal word with a capital. Set off each 
item by the comma and end the whole of the heading with a period. 

6. Write a model letter heading. 




7. Name the parts of'the introduction of a letter in order. 

The parts of the introduction of a letter are : (1) address, 

(2) title and (3) salutation. 

8. Describe the introduction of a letter and explain how 
it is written. 



144 


FARRIAN CORRESPONDENCE. 


The introduction of a letter consists of the address, which 
includes the name, the title, the residence or place of business 
of the one addressed and the salutation. Titles of respect like 
Mr., Mrs., Miss, Dr., Rev., Hon., His Excellency, etc., should 
appear in the address. Salutations like Sir, Dear Sir, Rev. Sir, 
Madame, Dear Madame, My Dear Sir, My Dear Madame, My 
Dear Boy, Dearest Eva, etc., should always vary according to 
the writer’s degree of intimacy and the station of the one ad¬ 
dressed. The address of the introduction should begin on what 
is called the margin : At the left side of the page, and on the 
next line after the heading. If it is an official letter, the address 
may be placed at the bottom ; but should never be omitted from 
the letter unless it is written in the third person. When the 
address occupies more than one line, the initials of these lines 
should slant to the right, the same as in the heading. There 
should be a margin of about one inch on the left side of the 
page, with which the writing should never interfere. The ad¬ 
dress and salutation should always begin on this marginal line. 
Begin each important word of the address with a capital. Set 
off each item by the comma and close the whole with a period. 
Begin the salutation with a capital and follow the whole by a colon. 

9. Write a model introduction of a letter. 





10. Write the introduction of a letter to a lady or gentleman 
who lives at Auburn , New York, San Francisco , Chicago , 
Denver and Kansas City , in order given. 



THE BODY OF A LETTER. 


145 


LESSON 127. 


THE BODY OE A LETTER. 


1. Body of letter— 


2. The parts of conclusion are : 

(1) Complimentary close. 

(2) Signature. 

• (3) Punctuation. 


(1) vv here it begins. 


(2) Sentences. 

(3) Capitals. 

(4) Spelling. 


3. Folding— 


(o) Punctuation. 


(6) Structure. 

(7) Paragraphs, 


(l)Fold from bottom to top. 


(1) Definition. 


(2) Fold from the right to left. 

(3) Fold from the left to right. 


(2) Where used. 

(3) Where it begins 

( 2. Describe the body of a letter and explain how it is written. 

The body of a letter should begin on the next line and just 
below the latter part of the salutation. Begin oach sentence 
with a capital letter, spell each word correctly, place an inter¬ 
rogation point after each sentence that asks a question, an 
exclamation point after each sentence that denotes strong emo¬ 
tion, and a period after each sentence that affirms, denies or 
expresses a command. It should be properly arranged in para¬ 
graphs. 

3. Explain the use of paragraphs in letter writing. 

A paragraph indicates a special division of the same, gen¬ 
eral or the beginning of a new subject. A paragraph should 
always be used where a division or change of subject calls for it. 
Paragraphs give a beautiful, open appearance to the body of a 
letter. Each paragraph should contain something new. 

By properly paragraphing a letter it becomes an easy 
matter to refer to any paragraph contained in a letter of any 
kind. The first word or line of every paragraph or new subject 
mentioned in a letter should begin at the left side of the page, 
about one inch to the right of the marginal line, or an inch and 
a half from the left edge of the page. 

f Name the parts of the conclusion of a letter in order . 

The parts of the conclusion are : (1) complimentary close, 

{2) signature, and (3) punctuation. 




146 


FARRIAN CORRESPONDENCE. 


5. Describe the conclusion of a letter and explain how it 
is written. 

The conclusion of a letter consists of the complimentary 
close and the signature of the writer. The forms of the com¬ 
plimentary close must be determined by the relation of the 
writer to the party addressed. In business letters, yours, yours 
truly, yours respectfully, etc., are generally used. In letters of 
friendship, your friend, yours affectionately, sincerely yours, 
etc., may be used. In official letters, very respectfully, your 
most obedient servant, I have the honor to be, sir, your most 
obedient servant, etc., should be used. 

The signature consists of the writer’s initials and surname. 
A lady addressing a person with whom she is not acquainted 
should prefix the title Miss or Mrs. to her signature. 

The conclusion of a letter should begin near the centre of 
the first line below the body of the letter, and if it occupies 
more than one line they should slant to the right, the same as in 
the heading and the address of the letter. Each line of the 
conclusion should begin with a capital. Set off each part by a 
comma, always follow the signature with a period. 

6. Name the steps of folding a letter in order. 

The steps in folding a letter are : (1) Fold from the 

bottom to top, (2) fold from the right to left, (3) fold from 
the left to right. 

7. Describe how to fold a letter. 

There are three distinct steps, or movements, in the folding 
of a letter, viz.: First, fold the lower half of the sheet over 
on the upper half so that the lower edge of the sheet will fall 
about half an inch below the top edge. Second, fold the right 
edge of the sheet over one-third the distance across the page of 
the letter. Third, fold the one-third at the left over the two 
folded thirds to the right. Should there be any bills, notes, 
checks, receipts or other papers to enclose they should be laid 
upon the upper half of the sheet before folding, then fold as 
though the enclosure were not there. 

8. Give direction for inserting the letter into the envelope. 

Take the envelope in the left hand with the opening toward 

the body, and the letter in the right hand, being careful not to 
turn it around, insert it in the envelope in the direction of the 
edge of the letter last folded ; that is, put in the left edge of the 



THE BODY OF A LETTER. 


147 


letter first, as it lies upon the desk after folding. If it is held in 
the left hand and taken out with the right, as it always should 
be, it is right end up, ready for perusal. 

After the insertion of the letter into the envelope be sure 
to seal it at once. Then it is ready for the superscription. 


LESSON 128. 


THE SUPERSCRIPTION OF A LETTER. 

3. Legibility. 

4. Punctuation. 

1. Describe the superscription of a letter , and explain how 
it is written. 

The superscription of a letter is what is written on the 
outside of the envelope. It consists of name, the title and the 
residence or place of business of the one addressed. It should 
be the same as the address in the introduction of the letter. 
The superscription of a letter should begin near the left edge 
just below the centre of the envelope, and should occupy three 
lines. These lines should slant to the right, the same as in the 
heading and address of the letter, and the space between the lines 
should always be the same, the last line ending near the lower 
right hand corner of the envelope. The first line should consist 
of the name and title of the one addressed, the second line the 
name of the city, town or postoffice, and on the third line should 
be placed the name of the state. If the one addressed is in a 
city the number of the door and street should be placed in the 
lower left hand corner, or if he is in a small town the name of 
the county and number of the postoffice box may take the place 
of the door number and name of the street. The title should be 
separated from the name by the comma. The lines of the super¬ 
scription should be legible and straight, and each line should end 
with a comma except the last, which should close with a period. 
The stamp should always be carefully placed in the upper right 
hand corner of the envelope. Then it is ready for mailing. 


1. Name. 

2. Title. 






148 


FARRIAN CORRESPONDENCE. 


2. Write four model superscriptions. 


















PARTS OF A LETTER. 


149 “ 


LESSON 129. 

PARTS OF A LETTER. 

Study and 'practice the parts of a letter . Write a letter. 





' £ X 









■c- 



&L 























150 


FARRIAN CORRESPONDENCE. 


LESSON 130. 


SU PRESCRIPTIONS. 

Study and practice the following supersciptions. 



Stamp. 


^yk/ 


Stamp. 





dsC&'L. 



-- 












STATIONERY. 


151 


LESSON 131 


STATIONERY. 


1. Pens— 


(1) Quill. 

(2) Steel. 

(3) Gold. 


(4) Length, 
(o) Width. 


4. Envelopes— 


2. Ink— 


(1) Color. 

(2) Quality. 

(3) Size. 


3. Paper— 


(1) Color. 

(2) Quality. 

(3) Size. 


(4) Length. 

(5) Width. 

(6) Shape. 


5. Postage Stamps. 


1. Pens. —Pens are made of quill, steel or gold. 

(1) Quill. —The quill has almost gone out of use. 

(2) Steel. — In our country the steel pen is in almost 
universal use. It is by far the best for practice. 

(3) Gold. —The gold pen is the most durable. It is pre¬ 
ferred by many clerks and professional bookkeepers to any 
other. By careful usage it will last almost a lifetime. After 
the writer has mastered penmanship and once become accus¬ 
tomed to a favorite gold pen he can write almost with perfect 
uniformity. It is not equal to the steel pen for making fine 
hair lines. 

2. Ink. —Ink has been described in the first part of this 
work in the lesson on material. It should be nearly black— 
positively of a real dark color—and free from all sediment, so 
that it will flow uniformly from the pen, making either light or 
heavy strokes without blotting. 

3. Paper.—(1) Color.— Paper for general use should 
invariably be white or very slightly tinged with blue. Business 
men have been known to reject an application for a clerkship or 
other situation because it was written upon tinted paper. 

(2) Quality. —Never purchase a poor, indifferent quality of 
paper. The article used should have a smooth surface and be 
fine and flexible. 

(3) Size. —For general use the full size business sheets are 
preferable. Commercial note may be used for writing letters 
of special importance. 

(4) Length.— The length of a common business sheet is 
about ten inches. 





152 


FARRIAN CORRESPONDENCE. 


(5) Width. —The width of the paper should correspond to 
the length. The width should equal four-fifths of the length, 
or about eight inches. 

4. Envelopes. —In selecting envelopes three things should 
be observed, viz.: color, quality and size. 

(1) Color. —The best usage sanctions the use of the pure 
white or buff color only. Use either according to taste or 
choice. We are judged by the material we use. 

(2) Quality. —The best envelopes are the cheapest in the end. 
Do not purchase thin, porous, flimsy envelopes. 

(3) Size. —The size of the envelope should always corre¬ 
spond to the size of the sheet on which the letter is written. 

(4) Length. —The length of the envelope should exceed the 
width of the letter sheet by about a half an inch, that there may 
be room to open the envelope at the right end without mutilating 
the letter within. 

(5) Width.— The width of the envelope should be about 
three-fifths of its length. 

(6) Shape. —An envelope should be of an oblong shape,, 
with the corners at right angles. Do not use any other kind. 

5. Postage Stamps. —The writer should keep a supply of 
postage stamps on hand, and thereby avoid a great deal of 
inconvenience, delay, and sometimes another journey to tho 
office. Stamps should be kept dry and in good order, else they 
may not be accepted in payment for mailable matter at the post- 
office. It is best to purchase about fifty at a time. 


LESSON 132. 


KINDS OF LETTERS. 

1. Application. 5. Friendship, -j cSun?eiT‘ 

2. Business. -J official^ 1 6. Introduction. ' 

3. Recommendation. Private. I* Congratulation. 

4. Condolence. 8. Invitation, Acceptance, etc. 

1. What is a letter of application f 

A letter of application is one in which the writer applies for 
some desired position, as bookkeeper, stenographer, clerk, 
assistantship, principalship or superintendency of a school, etc. 





KINDS OF LETTERS. 


153 


2, What is a business letter f 

A business letter includes two kinds, viz : personal and offi¬ 
cial. A personal business letter is one on private or personal 
business, as bankers, manufacturers, merchants and professional 
men and others, either as business firms or private individuals. 
An official business letter is one written to a public officer, or by 
him, on any business pertaining to or belonging to his office. 
Official business letters include the general correspondence of the 
different officials of a town, county, city, state and nation. 

3. What is a letter of recommendation f 

A letter of recommendation is one in which the writer 
recommends another person or thing; as a letter recommending 
a clerk, teacher, laborer, school, college, firm, journal, or 
a book, etc. 

If. What is a letter of condolence f 

A letter of condolence is one in which the writer sympathizes 
with a friend or friends, and writes a letter of condolence to 
console them in some sad affliction or bereavement. 

5. What are letters of friendship f 

Letters of friendship are those in which the writer corres¬ 
ponds with a friend or relative in a courteous manner. 

6. What is a letter of introduction f 

A letter of introduction is one in which the writer introduces 
an acquaintance or friend who is elsewhere. In giving a letter 
of introduction the writer, to a certain extent, should be 
thoroughly acquainted with the person he introduces, so that 
he can vouch for the good character and ability of the 
party introduced. 

7. What is a letter of congratulation ? 

A letter of congratulation is one in which the writer’s purpose 
is to express joy to a friend who has recently experienced some 
good fortune. Such letters should be cheerful in tone, and 
express the actual joy of the writer on hearing of the good for¬ 
tune of a friend. 

8. How should invitations , acceptances and regrets be written f 

Notes of invitation, acceptances and regrets should generally 
be written in the third person, and to suit the time, place 
a’d occasion. 



154 : 


FARRIAN CORRESPONDENCE. 


LESSON 133. 


USE OF CAPITALS. 


1. Begin with capitals— 

(1) All sentences. 

(2) Each paragraph. 

(3) Every line of poetry. 

(4) All titles of persons. 

(5) All names of the Deity. 

(6) The word Heaven. 

(7) All proper adjectives. 

(8) The words I and O. 

(9) All direct quotations. 

(10) All titles of essays and news¬ 

papers. 

(11) The months of the year and 

days of the week. 


2. All names of— 

(1) Persons. 

(2) Places. 

(3) Geographical. 

3. All titles of books— 

(') Nouns. 

(2) Verbs. 

(3) Proper adjectives. 

4. All initials— 

(1) Of persons. 

(2) Of places. 

(3) Literary titles. 

(4) Abbreviations. 


LESSON 134. 


PUNCTUATION. 


1. The comma (,) 

2. The semicolon (;) 

3. The colon (:) 

4. The period (.) 

5. The interrogation point (?) 


6. The exclamation point (!) 

7. The hyphen (-) 

8. The dash (—) 

9. The parenthesis ( ) 

10. The quotation marks ( “ ”) 


1. Give the general rule for writing and punctuating. 

Write to the right and punctuate to the left, respectively. 

A pointed remark frequently owes its point to the skillful 
use of the marks of punctuation. They are the indexes that 
guide the reader, when otherwise the complex matter leaves 
him in doubt which way to go. We should always be careful 
to place these guide-posts along the public or private pathway of 
our thoughts, so that he who looks upon our written, or printed 
pages, may read. 

■#. Define punctuation as used in correspondence , and state 
what each mark denotes and where it is used , in order . 

Punctuation is the art, or act, of punctuating,' or pointing 
off, with certain marks, the divisions of a letter, or other compo¬ 
sition of writing, into phrases, clauses and sentences. 







PUNCTUATION. 


155 


(1) The Comma.— The comma denotes the shortest pause, 
and should be used at all places in the composition where a short 
pause is required, in order to convey the writer’s meaning to the 
person addressed. 

(2) The Semicolon. — The semicolon denotes a pause a 
little longer than a comma, and should generally be used to 
separate the parts in which the comma has been employed. It 
shows that something is to follow before the sense of the writer 
is complete. 

(3) The Colon. — The colon denotes a pause a little longer 
than a semicolon, and should be used when the idea of the 
writer has been fully stated. It should be used before a direct 
quotation and before the writer begins to itemize. It indicates 
that there is something to follow. 

(4) The Period. — The period denotes the longest pause, or 
a full stop, and should be used at the end of every sentence that 
affirms, denies, or expresses, a command: at the end of the head¬ 
ing, introduction and complimentary close of a letter, and after 
all abbreviations. 

(5) The Interrogation Point. —The interrogation point 
denotes a question, and should be used after every sentence in 
which the writer intends to ask a question. 

(6) The Exclamation Point. — The exclamation point 
denotes strong emotion, and should only be used after words, 
phrases and clauses, or sentences, when the writer designs them 
to exclaim something. 

(7) The Hyphen. — The hyphen denotes the unity of two 
into one, and is used for joining simple into compound words. 
It is also used at the end of a line to connect syllables of a word 
which occupy different lines. 

(8) The Dash. — The dash denotes a separation between 
the principal and auxiliary parts of a sentence. It should be used 
in a sentence when there is a break, or a suspension, of the sense. 

(9) The Parenthesis. —The parenthesis denotes that a 
word, or sentence, has been inserted into another sentence by way 
of explanation or comment. It should only be used to enclose 
the words not necessary to complete the sense. 

(10) The Quotation Marks. — The quotation marks de¬ 
note the exact words of another, and should be used only when 
tne words are quoted verbatim. 



156 


FARRIAN CORRESPONDENCE. 


LESSON 185. 


BLEMISHES. 

1. Blots. 

2. Erasures. 

3. Underlinings. 

4. Cross-lines. 

5. Flourishes. 

6. Postscript*. 

7. Character &. 

(1) Blots. — Do not mail a letter disfigured by blots, as it 
will be considered, to a certain extent, a type of the writer’s 
character. A blot on a page is like a blotch on a person’s face, 
and should be avoided accordingly. 

✓ (2) Erasures. — Avoid all erasures and crossing out what 
has been written. It is better to re-write than to send a letter 
away so disfigured. 

(3) Underlinings. — Underlining is all right in its place, 
but it should be used sparingly. 

(4) Crosslines. — Considering the cheapness of paper and 
postage, there is no excuse for writing cross-lines, or on the 
margin of the paper. This is more common among ladies than 
gentlemen, but should be discarded by all, as it deforms the 
appearance of the letter. If one sheet is not enough, use another. 

(5) Flourishes. — In general business, the writer should 
not indulge in flourishing. Artistic penmanship has its 
proper place ; but its placets notin correspondence and business 
forms, as the extra lines and flourishes render the composition 
unplain and illegible. Write plainly. 

(6) Postscript. — Postscript means something added. It 
should not, generally, be used, unless it is to give an account of 
something that has happened, or taken place, after the letter 
is finished. It is not used much by good writers. 

(7) Character. — The character & is an abbreviation for the 
word “and,” but should not be used to take the place of the 
full word for which it stands. Business writers very frequently 
employ it in addressing companies or partnership firms. 


8. Interlineations. 

9. Figures. 

10. Slang. 

11. Tautology. 

12. Bombast. 

13. Pencil writing. 

14. Foreign languages. 




BLEMISHES. 


15 i 


(8) Interlineation. —This is leaving out letters and words 
and supplying the same by the use of the caret. No pains should 
be spared to avoid leaving anything out. In case there is 
something forgotten, it is best to re-write it, as interlineations 
make a very bad appearance upon the written page. 

(9) Figures. —The writer should be careful not to employ 
figures in the body of a letter. However, they may be employed 
to write dates, notes, prices, quantities, and in bills and book¬ 
keeping. It is best to write amounts for notes, etc., in both 
figures and words, and thereby avoid any mistakes ; but never 
begin a sentence in figures, or write numbers partly in figures 
and partly in words. 

(10) Slang. —By slang, is meant the use of low, improper, 
or offensive, language. No educated person will be guilty of 
using slang words and phrases, in correspondence. A letter is a 
fair type, or index, of the mind of its author. Nothing but chaste, 
pure language, should be used in correspondence. 

(11) Tautology. —Tautology, is a repetition of the same 
words, or meanings. The writer should be careful not to repeat 
any word, unnecessarily, or express the same idea, or meaning, 
but once, either directly or indirectly. 

(12) Bombast. —Bombast, is the reverse to simplicity of 
language. High-flown language is out of place in correspondence. 
The simplest language, which will convey the meaning, is the 
best that can be used in any kind of composition. 

(13) Pencil Writing. —Never employ a pencil to write a 
letter, note, or business forms, of any kind. First, it is dis¬ 
respectful to a correspondent, and second, it may be easily erased. 

(14) Foreign Language.— Foreign words, and phrases, 
should never be employed in correspondence. Instead of it 
leaving the impression on the correspondent that the writer 
has much learning, as some suppose, it invariably brands him 
with ignorance. 

In writing, as in speaking, make it a rule to so write, that 
you will not “be sorry that you spoke.” 



158 


FARRIAN CORRESPONDENCE. 


LESSON 136. 


LITERARY ITEMS. 


1. Style of letter. 

2. Correct spelling. 

3. Arrangement of items. 


5. Grammatical accuracy. 

6. Abbreviations. 

7. Brevity of letter. 


4. Short sentences. 

(1) Style.—B y the style of a letter is meant the manner 
of the writer, or the use of language to express his ideas. 

(2) Spelling. —The correspondent, above all other persons, 
should be a good speller and definer, and should make constant 
use of the dictionary. 

(3) Arrangement of Items. —If a letter should contain 
several items, they should be noted down before beginning 
the letter, and carefully arranged, according to their importance. 

(4) Short Sentences. —In correspondence and business 
forms, it is generally best to employ short sentences. They are 
usually clearer, more forcible, and preferable to long sentences. 

(5) Grammatical Accuracy. —All who would bceome busi¬ 
ness men, should first master the rules of the English language. 
All who write correctly write grammatically. 

(6) Abbreviations. —All abbreviations should be punctu¬ 
ated, and used correctly. It is not an abbreviation until it is 
properly punctuated. The writer should be careful in its use. 

(7) Brevity. —The correspondent, especially the business 
man, should be brief and to the point. Everything should be 
stated in the fewest possible words. Write to the point. 





POSTAL. 


159 


LESSON 137. 


POSTAL. 

1. What is mailable matter f 

Mailable matter embraces all matter which can be sent 
through the mails, according to law, and the postal regulations. 

< 2. How many classes of mail are there f 

There are four classes, viz.: First class, second class, third 
class and fourth class. 

3. What does the first class embrace f Give the rates. 

The first class embraces all matter which is either wholly, or 
partly, in writing. The rate is two cents per ounce, or fraction 
thereof, except on u dropt letters,” which are one cent per ounce, 
or fraction thereof, when mailed where free delivery is not 
established. 

if. What does the second class embrace f Give the rates . 

The second class includes newspapers and magazines, which 
are published at regular intervals. The rate of postage is one 
cent per pound, or fraction thereof. 

5. What does the third class embrace f Give the rates. 

The third class includes books, circulars and periodicals, not 

embraced in the second class. The rate of postage is on© cent 
for each two ounces, or fraction thereof. 

6. What does the fourth class embracef Give the rates. 

The fourth class includes merchandise and all mailable 

matter not included in the first, second and third classes. The 
rates of postage are one cent per ounce, or fraction thereof. 

7. What are the rates of postage to Canada , Mexico and 
and countries included in the universal postal union. 

The rates to Canada and Mexico are about the same as in 
the United States. The letter rates of postage to all countries, 
included in the Universal Postal Union, are five cents for one- 
half ounce. If you are in doubt, the matter may be weighed. 

The weight of packages of mail matter is limited by law 
to four pounds. That is, it must not weigh to exceed four 
pounds. To use, or attempt to use, postage which has before 
been used, in payment of postage, is punishable by law with a 
fine of fifty dollars. 




1 BO 


FARRIAN CORRESPONDENCE. 


It is also a fine of three hundred dollars for any person to 
use a government official business envelope to avoid the pay¬ 
ment of postage on private matter of any kind. 

The following articles are excluded from the mail : Glass, 
liquids, poisons, explosive materials, and all obscene pictures, 
pamphlets, papers, and other publications of such character. 
Also, letters, or postal cards, containing menaces, or scurrilous 
epithets, disloyal devices, and all articles which are liable to 
deface, injure, or destroy, the contents of the mail, or any 
part thereof. 

8. Give the proper use of postal cards. 

Postal cards should be employed only for making brief 
business announcements of an unimportant character. A pos¬ 
tal card should never take the place of an important letter, or be 
used in social correspondence. 

9. Give directions regarding postal cards . 

Nothing but the address should be written on the face, as 
postmasters are instructed not to forward them in case there is 
any writing, or printing, except the address, upon its face. 
Postal cards are sent to any part of the United States for one 
cent each. 

10. For how much can a single money order be issued f 

A single money order may be issued for any amount from 
one cent to one hundred dollars, inclusive, but must not contain 
the fractional part of a cent. 

11. How can the remmitter relieve' the payee of identifica- 
eotion f 

The remitter, who desires to relieve the payee, or his indorsee, 
or attorney, from the inconvenience of proving identity at the 
office of payment, by the testimony of another person, may do 
so, at his own risk, by signing the following form : “Identifica¬ 
tion of payee, indorsee, or attorney, waived.” 

12. How many money orders can be issued to a single ap¬ 
plicant in one day f 

The issue, to a single applicant, in one day, of more than 
three orders, payable at the same office and to the same payee 
is positively forbidden. 

13. Give the fees , charged for sending money by mail , in order. 



POSTAL. 


161 


Tor sums of $3, or less.... 3 cents. 

Over $3, and not exceeding $5. 5 cents. 

Over $5, and not exceeding $10. 8 cents. 

Over $10, and not exceeding $15.10 cents. 

Over $15, and not exceeding $30.15 cents. 

Over $30, and not exceeding $40 . 20 cents. 

Over $40, and not exceeding $50.25 cents. 

Over $50, and not exceeding $60.r.. 30 cents. 

Over $60, and not exceeding $70 . 35 cents. 

Over $70, and not exceeding $80 . 40 cents. 

Over $80, and note xceeding $100.45 cents. 


Ilf. Write an application for a money order. 



en 




<JL. &00 


& 


€'C'Cd t 

























162 


FARRIAN CORRESPONDENCE. 


15. Write a money order , corresponding with application . 




d-ca-ati 


$7554- 



MiRCT oneeffi. 


T 

1 


cAddaeA Ay /Ae aAaide dd.addde A SAd/= 
dfppdcd, add /Ae jj/A Arzdp &A wA}AA.sSp4-. 


A 



a a da 


/a 



Sa 


"-add. 


(At 


l y - ^ - 

(1 payee named in my advice ot corresponding number and date.) 


& dadn ayAeadeddAy^yAtid AAA&AAadd add.a 


(Amount written here must correspond with figures in upper right hand corner.) 

(dp’W/ /? r"/d / 


dPddd-jAaad 



€>dddd. 



■ (Q . AAAdAA, c Aad/dddad/ed. 


a cAddA-dd^iad/-ed a/ 

ApdddaAa,; cAdA. 






GENERAL DIRECTIONS. 


163- 


LESSON 188. 


GENERAL DIRECTIONS. 

Give the general directions to be observed in correspondence .. 

(1) Make it a rule never to fold a letter until after having 
carefully reviewed it for the correction of any errors. 

(2) Always enclose a stamp with a letter which is pertaining 
to your own business, that requires an answer. 

(3) Never condescend to write an anonymous, or imperti¬ 
nent, letter. Do not answer one, unless you receive an apology. 

(4) All letters, which require an answer, should be answered 
promptly, unless something foreseen requires a day or two 
delay. In every letter you compose, use the best language 
possible, spell correctly and write plainly. 

(5) Letters of introduction, if sent by mail, should contain 
the card of the party introduced, and should be sealed. After 
one has returned home from a visit to see a distant friend, or 
relative, he should write immediately of his safe arrival, and 
speak of the appreciation of the hospitality enjoyed. 

(6) A note written in the first person should not be answered 
in the third person. Do not attach signature when writing in 
the third person. It is not good taste to write letters on fools¬ 
cap, or on a sheet of paper that has been torn, or soiled. 

(7) As soon as a business letter is received, it should be 
carefully read, neatly folded, dated, author’s name, the leading 
topic of which it speaks and the date it was answered, noted on it. 
Keep all business letters until the subject to which they relate is 
fully closed. A copy of all business letters, which require aa 
answer, should be kept by the writer for reference. 





164 


FARRIAN CORRESPONDENCE. 


LESSON 189. 


LETTERS OF APPLICATION. 


1. Write a letter of application for a ; position as teacher , 
principal , or superintendent , of schools. 


JZf; 


anim '-esa% 


<8^. /<?, 


Jd/(andad -gfan. 


enuemen : 


mA 


^fade ccndc/et me an <^Afzfcaa/ jft ffe 
c^ycat dcfccf^ a/ a da/at?/ c^f /me 
fanc/tea/ t/efaid ( /20o) ^/et mcu/f et /me Meadan/ 
( 000) /id annum. 

Qffcf ^fef/fa/ m^ me if ana/ /fe acccm/a- 
n^m^ de//etd ejf tecemmen/a/ccn can fe//et d/eafjft 
me /fan d? can mt/de^f een/aie /c atdate 


jf'u tnat; dneada jeca nenct me, cje e/ecun^ me ^cat 
‘ c/ dfa/f d/ttii-e /e Act/ctm mu 


au/tCA 


an/ me. 
no/ dfax 


cat ccei 


/ W. &*U. 




LETTERS OF APPLICATION. 


165 


Write a letter of application for a position as conductor 
on a railroad . 

Denver, Col., 

Sept, 1, 1893. 

Pres, of U. P. R. R., 

St. Louis, Mo. 

Dear Sir : 

I am desirous of securing a position as conductor on 
the railroad under your control. Having been engaged in a 
similar position in the employ of the Burlington R. R, Co., I 
feel fully competent to fulfill all the duties of the position. 

The accompanying letter of recommendation from the presi¬ 
dent of the above named company, will speak for itself. 

Assuring you that if I obtain the position, I shall discharge 
my duties diligently, honestly and well. 

I remain, your humble servant, 

L. F. Bennie. 

3. Write a letter of application for a clerkship. 

Cleveland, O., 

Sept. 3, 1894. * 

A. N. Palmer & Co., 

Chicago, Ill., 

G entlemen : 

Observing your notice in the Art Journal, of today, 

I bog permission to offer my services as general clerk. I 
enclose testimonials and refer you to my last employers, who 
are engaged in the same business. I am unmarried and thirty 
years of age. 

Asking the favor of an interview, 

I am, gentlemen, 

Your obedient servant, 

E. L. Hall. 




166 


FARM AN CORRESPONDENCE. 


If. Write a letter of application for position as hostler . 

San Francisco, Cal., 

Aug. 3. 1893. 

L. L. Tucker, 

Washii g on, D. C. 

Dzar Sir : 


Having been informed that you are in need of a 
hostler, I take the liberty of making application for the situa¬ 
tion, and ask your attention to the accompanying testimonials. 
I have been brought up in the country, and feel that I under¬ 
stand the management of horses. I have had the care of horses 
ever since I was a boy, and for the past two years have had 
entire charge of the horses, carriages, etc., at the Pierson livery 
of this city. 

Should my application meet with your approval, I shall 
zealously try to merit your commendation. 

Yours, truly, 

M. S. King. 


5. Write a letter of application for a testimonial as servant . 

Wichita, Kans., 

October 1, 1893. 

Miss M. Roper, 

Des Moines, Iowa. 

Dear Madam : 

I am desirous of again entering service, as cook, and 
laundress, and write to ask the favor of a testimonial from you, 
setting forth my general ability and character. I am sorry to 
have to take your time, but feel that you are willing to do 
anything that will help me to secure employment. 

With sincere thanks for past favors, 

I remain 

Your grateful servant, 

Jennie M. Gould. 



LETTERS OF APPLICATION. 


167 


6. Write a letter of application for , a son , a position as 
apprentice. 

Erie, Penn., 

G. W. Ware, Nov. 10, 1893. 

Lincoln, Neb. 

Dear Sir : 

I understand that you have a vacancy for an appren¬ 
tice, and if agreeable to you, I should be pleased to place my son 
James, under your charge. He is now sixteen years of age and 
has decided tact and inclination for the business in which you 
are engaged. May I ask the favor oc an interview at your 
office, or, if preferable, a letter stating your terms, after which 
we can enter into particulars. My son has a good education for 
beginning business, and I am sure you will find him quick and 
willing to receive further instruction. He is of a good disposi¬ 
tion and industrious habits. 

Awaiting further instructions, I remain, 

Yours respectfully, 

J. W. Jones. 


7. Write a letter of application for position as book-keeper. 

Phila., Penn., 

W. J. Musser, Dec. 14, 1893. 

Detroit, Mich. 

Dear Sir : 

In reply to your advertisement in the Western Penman 
for a book-keeper capable of keeping books in both single and 
double entry, and familiar with letter writing and general busi¬ 
ness correspondence, I beg to offer my services for the position. 

I have long been engaged in a similar business, and have many 
reasons to believe that my employers have been fully satisfied 
with my work. I will further state that I am well acquainted 
with the custom house business, and have a sufficient knowledge 
of French and German to conduct a general correspondence in ^ 
those languages with ease. 

If the position is not filled, I shall be happy to wait upon 
you with any further information you may require. 

I am, sir, 

Lour obedient servant, 

H. A. Howard. 



168 


FARRIAN CORRESPONDENCE. 


LESSON 140. 


BUSINESS LETTERS. 

1. Write a business letter or dering school text books . 


5, 


SfcaU AAooA 

(tea##, d//. 


ensumm.- 


AAad# dm</ As CsAc/amd (Sz/iUdd 

/Ae jAAwmrs mAmA AmA: 

so SAu V 

SO (AAdtUem . 

SO AAzUta-n AAtm/zAsk AAmmanxOtA 


0. 


wdmpA C?fui 


SO AAAu/an AAtidmeA AAimd. 

SO AAzU/cm ((Aj/dSem A^wA-Ae^my. 


SO 


aU d ddudms 



Mammat. 


%0 AAaU V 

CsAnc/ cAaijs# sAd dame /# mjs accettnf. 

A^mid 


tcAaeAs 





BUSINESS LETTERS. 


169 


2. Write a business letter urging payment of an account. 

Mobile, Ala., 

Dec. 22, 1893. 

James F. Edward, 

Milwaukee, Wis. 

Dear Sir : 

I must solicit your prompt attention to the accompa¬ 
nying account, which is already three months past due. On the 
1st I have bills due which will require all the funds at my com¬ 
mand, and, as your account is long since due, I trust that you 
will comply with my request at once, and forward a draft for the 
balance due me. 

Please reply, by return mail, stating whether I may depend 
upon you. 

Yours very respectfully, 

A. C. Webb. 

3. Write a business letter enclosing some cash due. 

Omaha, Neb., 

Feb. 12, 1893. 

J. M. Meehan, 

Baltimore, Md. * 

Dear Sir : 

Your kind favor of 22d ult. received and contents 
carefully noted. I am indeed sorry that you have experienced 
any financial inconvenience on account of my tardiness, but 
assure you that it has not resulted from any unwillingness on 
my part to pay you. I judge you are aware that it is quite im¬ 
possible to make any collections here, owing to the failure of two 
of our leading banks of this city. 

However, business is slowly improving, and as rapidly as 
my accounts can be cashed 1 will remit you in payment of 
your claim. 

I take pleasure in enclosing you a draft for One Hundred 
Dollars, ($100,) which place t6 my credit, 

And oblige, 

A. W. Dakin. 


0 


12 



170 


FARRIAN CORRESPONDENCE. 


J. Write a business letter ashing for an extension of time 
forjjoyment of a debt . 


Augusta, Me., 

Jan. 1, 1893. 

J. R. Anderson, 

Brooklyn, N. Y. 

Dear Sir : 

I very much regret that circumstances prevent my be¬ 
ing punctual, as I should like to have been, in the payment of my 
account, and kindly ask that you renew the note which you hold 
against me for another three months. The failure of parties who 
were largely indebted to me, and other losses in my own business, 
have caused me serious financial trouble, and therefore, I must 
depend upon your leniency as a means to enable me to recover 
my loss. 

I remain, sir, 


Your faithful servant, 

F. E. Cook. 


5. Write a business letter acknowledging remittance of five 
hundred dollars . 


J. P. Smith, 

Hoboken, N. Y. 

Dear Sir : 


Portland, Oregon, 

March 26, 1893. 


Your favor of the 20th, containing draft for Five 
Hundred. Dollars, ($500,) on account, received and placed to 
your credit. 

Thanking you for promptness, we remain, 

Respectfully, 

E. W. Robins & Co. 



BUSINESS LETTERS. 


171 


6. Write a business letter recommending a child to the care 
of the president of a school . 

Olympia, Wash., 

April 28, 1893. 

C. A. Jennings, 

Kingston, N. Y. 

My Dear Sir : 

1 regret very much that the pressure of my business 
prevents me from accompanying my child down to your office, 
I should have been glad to have had a few minutes conversa¬ 
tion with you, pertaining to his future course of studies. 

At the same time, I have so much confidence in your ability 
and willingness to do all you can for those placed under your 
care, that it seems useless for me to come at present. 

Hoping that my child may prove worthy of the attention 
and training, which I feel sure it will receive while in attendance 
at your school, and with many kind wishes for the success of 
the school, I remain, sir, 

Your faithful servant, 

J. W. Farr. 


7. Write a business letter of protest concerning a note past 
due and unpaid. 

Quincy, III., 

May 19, 1893. 

E. L. Brown, 

Little Rock, Ark. 

Sir : 

I must call your attention to the fact that a note of 
Three Hundred Dollars, ($300,) dated at Pierre, S. D., June 1, 
1892, due May 1, 1893, signed by W. J. Ives, and endorsed by 
you, was duly presented by me, the holder, to the maker of said 
note for payment and was not paid, and therefore, I shall look to 
you for full payment thereof, at once. 

Very respectfully, 

C. N. Crandle. 



172 


Earrian correspondence. 


LESSON 141. 


LETTERS OF RECOMMENDATION. 

1. Write a letter to a friend requesting a letter of recom- 
m ndation. 




i vna, . 


i m. 

&, °p< 


jjune Id, 


enn. 


eaD qJiA : 

%// ^ ^ adtDri'Cj- tm <jAeat a j’cwoA,, it 
dL > elicit j/lom yMi a letteD m tAe way e r ji a 
iecenvmendatiMn ? not, cJL dJumld edeem 

it a vei/iy -relent ^awi, indeed, iji yeu witi olluy, 
me, ab (fJL am JuAAy convinced, tAe jw/iiti 
yen .Add, would yieadly enAance my jiDoDjiectd' 
t& do inkneM wmony yood jieejvte. 


e 

een 


ftmy jnnAsdon lob 
doll eveD Demam, 


my y 


<m, dL 


idMil mowt dedient and dhymy j\iend r 

o# m 


ifynn. 




LETTERS OF RECOMMENDATION. 


173 


Write a letter of recommendation , recommending a 
teacher , or professor , of a school . 

Atlanta, Ga., 

July 4, 1893. 

To WHOM IT MAY CONCERN I— 

The bearer of this letter, Prof. W. A. Smith, for the 
past two years principal of our schools, we are pleased to say 
is of good standing, both as a teacher and a gentleman. 

He has proven himself to possess tact, learning, enthusiasm, 
a high degree of patience, and that executive ability requisite 
for a successful teacher to possess. 

His character is above reproach. He is a sober, moral, en¬ 
ergetic, trustworthy, Christian young man, and a conscientious 
practical teacher, well acquainted with the requirements of the 
school room and what it takes to constitute a good school. He 
has been thoroughly successful in our schools ; therefore, we 
heartily wish him the same success elsewhere, and cheerfully 
recommend him to school officers and friends of education where- 
ever he may otter his services. 

Very respectfully, 

J. W. Farr, President. 

3. Write a letter of recommendation , recommending a suc¬ 
cessor on retiring from business. 

Columbia, S. C., 

D. T. Ames Co., Aug. 29, 1893. 

Raleigh, N. C. 

Dear Sirs : 

In retiring from business, we flatter ourselves that there 
are many friends among our connection. We have sold our full 
stock of goods, including store building, premises, etc., to B. 
F. Kelly & Co., who will, in the future, carry on the business on 
the same system and scale as ourselves, on the condition they 
can receive the patronage of our past connection. We take 
pleasure in presenting these gentlemen to your notice. We 
could not speak too highly of their mode of conducting busi¬ 
ness, the confidence we have in them and the strict attention and 
punctuality in their commercial transactions. With the hope 
that they may be honored with the same honor we have received 
at your hands, 

We remain, Very respectfully, 

J. W. Warr Co. 




174 


FARRIAN CORRESPONDENCE. 


J. Write a letter of recommendation , recommending a 
farm hand. 


Greeting : 


Jackson, Miss., 

Aug. 4, 1893. 


This letter is to certify, that the bearer, F. M. Sisson, 
has worked upon my farm for me during the past year, and I 
have found him to be a good workman, steady, strong and 
reliable in every particular. 

Very respectfully, 

E. S. Burnett. 


5. Write a letter recommending a servant. % 


Mrs. F. S. Heath, 


Jefferson City, Mo. 

Sept. 2, 1893. 


Bismarck, N. D. 

Dear Madam : 

The bearer of this letter, Fannie Snoke, served in my 
house as waitress and laundress for the past ten months, at 
which time she left on her own accord, returning home to assist 
her parents. During all the time she was in my house, she 
conducted herself to my entire satisfaction. She is an excellent 
housekeeper, understanding all her duties,: and is active, zeal¬ 
ous and industrious in attending to the same. Her habits and 
moral character are the very best, and it affords me pleasure in 
recommending so worthy a girl to you. 

Respectfully, 

Mrs. C. N. Faulk. 



LETTERS OF RECOMMENDATION. 


175 


6. Write a letter of recommendation , recommending a 
railroad conductor. 


Minneapolis, Minn., 

Sept. 10, 1893. 

Jay Gould, 

New York, N. Y. 

Dear Sir : 

In answer to your letter of inquiry, of recent date, I 
beg leave to inform you that T. T. Wilson has been in our ser¬ 
vice as railroad conductor for the past seven years. During 
this time, we have always found him honest, truthful, good 
tempered, and ever willing to oblige. He has a thorough 
knowledge of machinery and general railroad work. We part 
with him only on account of a difference about wages, and can 
recomend him as a moral, sober, business man, well qualified for 
any position which he may desire. 

Yours truly, 

D. S. Chapman. 


7. Write a letter recommending a Clerk. 


J. S. Nichols & Co., 

Tallahassee, Fla. 


Austin, Texas, 

Nov. 24, 1893. 


Gentlemen : 

It gives me great pleasure in certifying that Mr. C. C. 
French, who has been in our employment as salesman for the 
past year, has conducted himself to our entire satisfaction. 
During all the time he was here, he kept my interests in view. 
His polite manners, and genial disposition secured the good 
opinion of all my customers, and made new ones. He is con¬ 
scientious in the discharge of his duties, accurate in accounts, a 
good book-keeper, and is fully qualified to conduct a general 
business correspondence. Indeed, his practical knowledge of 
business and personal character are such that we do not hesitate 
in recommending him to you. 

I am, gentlemen, 

Yours respectfully, 

A. P. Wright. 



176 


FARRIAN CORRESPONDENCE. 


LESSON 142. 


LETTERS OF CONDOLENCE. 

1. Write a letter of condolence on the death of a friend 


'^vrb'- 


^^/O'VXaaaAAx^ ^o/_^ 

Du/. UX \flfQ. 


Buw 3 \AA/aX - 

3Xv ^>o^yi/r^ Wxam/ oaaa/^\avwiX *dv^ ^oXoX 

V^I/aA) \^U>W\Aoaj^- 

3rvuL^ uaa^iA^ vw \Avi/ hriwyori o\ oi^l^\>u>w^ A/Wv \xy^> 

^ V\MAA^ ^O-rVAAy Cr\/ AJdAwiAv tAXAA- TV\M/ \$\A/ X\MAAA/Aa 

\vV07v\}^ 3 WIX, CXmA/ ^VlX wWfe \\OVA, WxAMy W>^ \J^\voA/ • 

vpMo Wxas-v cx/r^ ^sj^vvvaaoaaX \j^v\> Xcxam/ Ao vw3aaA/V_ 

3kv b&AAM/ WuxA/S Xo/$v ^u/o^v\} \m/V A-\uxA> ^<yr vVU> vvaa- 
AAM/OAyXA/T oJAsl/^ VaAAM/ CX/Aa!L AX/^JAKAj QA/V \>\vV CAAAaJ^ \AA/V^/ViXA/V- 
S>VaA> \XaA> X> X ^XMMA/ UMAA^oVO \X> VA/V W$CV $UxA> \AU/ \AAAMy 
v> V\M> ^O/r cUa>AoWa oX \A5-X\aAv \m/ QAA/ Ao- VA, \Xv 

bOAAA/V W^AMX OU/T ^OVUVOdAv CXAAaI/ MA^IAAAA^ W&a/Uxs cxaaxL Ao 

Ou'bA'I/AX VA/ VAAVWAA' \X> CXMy lA/bAxX/A\A/ \AAA/VAvVV/^ \>mAAv \Avv 1^\aa/AaL 

W> WxASA/ U>\Mxi/ CX/VuL' Wy'o, OmX WKxVAA/ \JM/ tAuxAX hriXls W\^v 

OyAAaL VAA^VV WM/ CX/O^CXA/Vw- 3 Xoa^ ^>OcL \Jp\A, CX/aX ^W^y<yv\} 

AJpXA/- \^>UA/^ A^uAaJ^ 


3- \A^ycb<y%. 





LETTERS OF CONDOLENCE. 


177 


2. Write a letter of condolence on the death of a father . 

Kansas City, Mo. , 

April 29, 1891. 

Mrs. M. R. Farr, 

Los Angeles, Cal. 

My Dear Mother : 

I cannot express to you the sorrow I felt on hearing of 
our grievous loss in the sad death of dear father. I earnestly 
wish I could be with you, and help to sustain and comfort you, 
in this trying ordeal of life. 

Dear father was so good, so kind, and male our home so 
happy. 

We had hoped to enjoy his company in old age, but God in 
his omnipotence, has ordered otherwise, and we can but bow in 
humble submission to his decree, with the hope that we will all 
meet him in the u sweet bye and bye,” and that he is but another 
link in the chain of love that binds our home to heaven. 

Accept my tenderest love, and may you ever be comforted 
with the precious thought that dear father has simply gone be¬ 
fore to await our coming. 

God bless you in this sad affliction, is the sincere prayer of 

Your loving son, 

John. 


3. Write an a?iswer to the foregoing letter . 

Los Angeles, Cal., 

April 30, 1891. 

J. W. Farr, 

Kansas City, Mo. 

My Dear Son : 

The sad loss of one we cherished and loved so well has 
so completely prostrated me that I am scarcely able to write. 
Still, your letter was a great comfort to me. My friends tell 
me that time will reconcile me. 

The fact there is a better world than this, where the parted 
may meet to part no more, may ab ite my present sorrow. But, 
oh ! it seems now that the sense of loneliness which weighs me 
-down can never leave me. May God bless you for your kind 
words in our sad affliction. 


Your loving, 


Mother. 



178 


FARRIAN CORRESPONDENCE. 


h. Write a letter of condolence on the death of a brother . 

Hartford, Ct., 

May 19, 1894. 

H. M. Owen, 

Providence, R. I. 

My Dear Friend : 

The sad intelligence of your brother’s death has caused 
me more sorrow than I am able to express ; but allow me to 
tender my heartfelt sympathy. We live in a world where 
solemn shadows are ever falling around us—shadows that teach 
us that “ this i-s no abiding.” But thanks be to God, that we 
have the blessed assurance that death can never enter that 
sphere to which the departed are called. 

My dear friend, let faith and hope mingle with sorrow, and 
ever look to the future where the sundered ties of earth will 
forever be united. 

Sincerely yours, 

Miss Mina Losure. 


5. Write a letter of condolence on the death of a mother . 

New Haven, Ct., 

March 25, 1893. 

L. J. Sweet, 

Newport, R. I. 

My Dear Friend : 

I condole with you in your sad affliction. The loss of 
a loving mother is the severest trial to which a child can be 
subjected. During our sojourn here on earth we must now and 
then expect a mournful visitor. But it is truly consoling to 
know that just on the other side of this fleeting scene, from 
which the dear ones seemingly vanish too soon, there is a world 
where all the tears are forever wiped away and farewells aro 
never spoken. Let us live with the hope that our loss is her 
eternal gain. 

Sincerely your friend, 

H. W. Cole. 



LETTERS OF CONDOLENCE. 


179 


6. Write a letter on the death of a sister. 

Boise City, Idaho, 

Sept. 14, 1893. 

Miss Alice Cary, 

Phoenix, Ara. 

Dear Miss Cary : 

In the death of your loving sister, you sustained a loss 
which only those who knew her can sympathizingly estimate. 
I sincerely sympathize with you in your sad misfortune, and if 
true friends can be any consolation, be assured that all who 
knew her, loved her, and now, share in your sorrow. However, 
let me commend you to that higher source of love, than any 
earthly friendship, 

And remain, 

Sincerely yours, 

Harriet B. Stowe. 


7. Write a letter to a friend on a sudden failure in business- 

Leadville, Col., 

Oct. 12, 1893. 

W. E. Coleman, 

Nashville, Tenn. 

My Dear Friend : 

I cannot express how sorry I am to hear of your sud¬ 
den business failure. Where misfortune comes upon a person 
so unexpectedly it is indeed hard to bear. However, I do not 
see any cause for despair. Perseverance, will, I believe, soon 
put you on a foundation for regaining your loss. At any rate, 
do not be discouraged in the least. The word failure is indeed 
a very unpleasant one. But to the energetic, resolute man of 
business, there is no such word as fail. Cheer up, and let your 
motto be, “If at first you don’t succeed, try again.” I hopa 
you will, and I am sure that the confidence reposed in you by~ 
your many friends will not be blighted. 

Your friend, 


J. W. Farr. 



180 


F ARRIAN CORRESPONDENCE. 


LESSON 143. 


LETTERS OF FRIENDSHIP. 

1. Write a letter of friendship , sending a book as a 
Christmas present. 

r7fZ> '(ict,ne , ., 


SIS , 

(///aTiTice (d/evet, 

//ZaifloTi; &. 
eat (d/ue?ic/: 

d Zoo/d ate m //emde/zed 


4 (fOO 

line J^tceTidd and l/e modi a/?^ne^i7tale doav= 
e?utd ^7ienddZt^7, Qd ad/ Tfoa lo acce/il l/e 
accam^ia7iyt7i^ Zoo/ ad a lo/en oj?mif te^ard 
*06 If Oil- Of tuut a maif dacl Tfoat ladle. 

OZi deemd lo me l/al l/e meaning o^ l/al 
^iel deTileTiee , cc QZ Znom d^oa Zc/e a Zoo/," 
d/ou/dextdl Zelmee7i Itae ^UeTidd, ad meZZad 
Zelmeedi 'leaded a/id aa /dot- 

(f/Zo/icTi^ l/al yoa ma?f J^nd do?nelZtnj? on 
l/cd vo/ame l/al ml//'mlezedl if oa , andmid/- 
cn^ ifoa a met'tTf ZoZddlmad, ZeZcez l e me, 

<3Zlncete/y dfoatd, 

b 


otmed. 





LETTERS OF FRIENDSHIP. 


181 


2. Write a letter of friendship , sending a finger ring as 
a presen t. 


Springfield, Mo., 

Feb. 23, 1894. 

Miss Minnie A. Lucas, 

Missoula, Mon. 

Dear Friend : 

The ancients adopted a finger ring as the symbol of 
eternity. That is, it is without an end, and will last through all 
time. Therefore, I venture to solicit your acceptance of the 
accompanying gold ring, which represents an emblem of esteem 
and friendship, which I am sure will be perpetual. It is sent 
with the hope, that it may be received with the same cheerful 
spirit in which it is presented. 

Please place it on your finger, and let me believe that as 
often as you look at this circular souvenir, you may think pleas¬ 
antly of the one who esteems your society so highly. 

Your sincere friend, 

C. A. Faust. 


3. Write a letter congratulating a f riend on the anniver¬ 
sary of a birthday. 


Charleston, S. C., 

March 26, 1893. 

Miss Maria T. Smith, 

Savannah, Ga. 

Dear Friend : 

Birthdays have well been called the milestones of one’s 
life. As you approach another anniversary landmark, let me say, 
happy is the one who can pass each one of these without a sigh 
of regret. I feel that I would do myself an injustice, were I to 
permit this day to pass, without sincerely congratulating you on 
having traveled life’s road thus far in safety. Very thankful, 
indeed, shall I be, if at your age, I can review the days of my 
past life with so much satisfaction, knowing they have been well 
spent. May your future days be filled with pleasure and sun¬ 
shine, and as each milestone rolls around, may your prospects 
continue to grow brighter for heaven and immortal glory, are 
the best wishes of 


Your sincere friend, 

E. H. Butler. 



182 


FARRIAN CORRESPONDENCE. 


J. Write a letter of friendship, congratulating your Pro¬ 
fessor on being elected superintendent of schools. 


Prof. W. T. Harris, 

St. Louis, Mo. 


Montgomery, Ala., 

Aug. 31, 1893. 


My Dear Sir : 

Allow me to most sincerely congratulate you, on the 
success you have met with in being elected commissioner of the 
fine schools, over which you now preside. Indeed, when I 
learned that you were a candidate for the position, I had the 
faith in you to believe you would be successful without a doubt; 
but let me state further, that I believe your success as super¬ 
intendent will be even more marked than your best friends 
anticipate. My best wishes will attend you in all that you do, 
and my best congratulations mean all that is expressed in the 
word congratulate. 

Yours truly, 


J. M. Greenwood. 


5. Write a letter of friendship , acknowledging the receipt 
of a present. 

Indianapolis, Ind. 

- June 2, 1894. 

J. G. Whittier, 

Boston, Mass. 

Dear Friend : 

You have certainly proven your usual good taste, in the 
selection of the beautiful present, which you have been so kind 
as to send me as a souvenir. How sincere you must have been 
to think of me immediately after your return from Chicago. 
The pleasure I next prize to the presence of my dear friends, is 
the knowledge that they have not forgotten me when absent. I 
.assure you that I prize it highly, and shall ever keep it 
as a memento. 

Again thanking you for your kindness, 

Believe me, 

Your friend, 

Sara L. Arnold. 



LETTERS OF FRIENDSHIP. 


183 


6. Write a letter from a gentleman to his son at school. 

Delaware, O., 

Harry Bixler, Oct. 28, 1894. 

Poughkeepsie, N. Y. 

Dear Son : 

You have been absent from our home for several weeks 
past, but not absent from our remembrance. It is my daily 
practice to recommend you to the care of the All Wise Being, 
whose eye is always upon His people, and to whom the secrets 
of all our hearts are ever open. 

I am pleased to write you that the members of our family 
are all well. My knowledge of your usual good behavior, both 
in and out of school, and attention to your studies, renders any 
new advice unnecessary. However, I shall consider it in that 
light, and be truly glad to find it so. Good habits in youth are 
never too often inculcated. My child, an education is a grand 
thing, but true and undefiled religion, is far more grand. It 
has well been said that “ Her ways are ways of pleasantness 
and all her paths are peace.” 

With best wishes for your success and happiness, 

I remain, your father, 

G. Bixler. 

7. Write a letter of friendship from a daughter at school 
to her parents. 

S. W. Scott, Concord, N. H., 

Carson City, Nev. Dec. 20, 1894. 

Dear Father : 

The perusal of your kind and parental advice, affects 
me so much, that it is with effort that I hold the pen to write. 
I wish, that 1 could have it engraved on my heart. My dear 
father, I prize an education, 1 adore virtue, I love religion, and 
I truly hope that nothing may ever lead me from the path of 
duty, for, by this alone, I fondly hope to obtain my future 
happiness. My desire is that my conduct may ever be so pure, 
that it will convince you that I am just what you want your child 
to be. It is with mingled feelings of pleasure and regret, that our 
holiday vacation will, in a few days, be here. While I regret 
that our school cannot be in session all the time, it is a great 
pleasure to know that I again can soon bask in the sweet sun¬ 
shine of the loved ones at home. Let me hope to hear from 
you once more before I return. 

I remain your affectionate child, 

Susie Scott. 



184 


FARRIAN CORRESPONDENCE. 


LESSON 144. 


LETTERS OF INTRODUCE ION. 

1. Write a letter requesting a letter of introduction, 




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LETTERS OF INTRODUCTION. 


185 


2. Write a letter of introduction. 

Atchison, Kan.,, 

July 11, 1891. 

O. M. Powers, 

Burlington, Iowa. 

Dear Friend : 

I have the honor of introducing to your acquaintance 
Hon. B. H. Harrison, a good friend of mine. He will explain 
to you, personally, the object of his call. A favor to him would 
be a favor to me. 

Your friend, 

J. W. Farr. 

3. Another letter of introduction. 

J. R. Lowell, 

Manchester, N. H. 

My Dear Friend : 

I have the honor of introducing to you, my esteemed 
friend, Mr. W. D. Howells, of Portland, Me. Any attention 
you may show him will be greatly appreciated by me. 

Yours truly, 

Robert Burns. 

J. Another form of introduction. 

Virginia City, Nev. 

June 30, 1894. 

Charles Dickens, 

Boston, Mass. 

Dear Sir : 

I take pleasure in introducing to your acquaintance my 
friend, Oliver Goldsmith, whom I recommend to your kind 
attention. 

Your friend, 

N. Hawthorne. 


13 



186 


FARRIAN CORRESPONDENCE. 


5. Another form of introductory letter. 

Gettysburg, Penn., 

July 3, 1894. 

W. M. Thackery, 

Wilmington, Del. 

My Dear Sir : 

This will introduce to your kind consideration, J. G. 
Whittier, of Alexandria, Va., a very worthy gentleman who 
lesires to consult you on a matter which he will explain to you 
personally. 

Yours very truly, 

R. W. Emerson. 

6. A model letter of introduction. 

St. Pual, Minn. 

July 27, 1893. 

H. W. Longfeluow, 

Cheyenne, Wy. 

Dear Friend : 

I take the liberty of recommending to you Lord Tenny¬ 
son, of Bismarck, N. D. 

He intends staying only a week in your city; in the mean¬ 
time, should he have need of any information, I will consider it a 
.great favor if you will oblige him. 

Relying upon your kindness, I am 

Yours truly, 

J. F. Cooper. 

7. General form of introduction. 

Leavenworth, Kans., 

Aug. 7, 1894. 

E. L. Brown, 

Chicago, Ill. 

My Dear Sir : 

This letter will be handed you by Mr. W. T. Parks, of 
this city. He is a gentleman in every respect. Mr. Parks will 
purchase a large stock of goods while in Chicago. Will you be 
so kind as to render him any assistance in your power. 

It is with pleasure that I recommend Mr. Parks, who merits 
personally all your esteem. Assuring you that I shall be greatly 
obliged for all attention you may pay him, and for all assist¬ 
ance you may render him on any occasion, I am 

Yours truly, 

A. E. Parsons. 



LETTERS OF CONGRATULATION. 


187 


LESSON 145. 


LETTERS OF CONGRATULATION. 

1. Write a letter to a candidate, congratulating Kim on his 
election. 


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188 


FARRIAN CORRESPONDENCE. 


2. Write a letter congratulating an author on success. 

Denver, Col., 

Prof. C. P. Zaner, April 28, 1893. 

Columbus, O. 

My Dear Sir : 

An old adage reads: “To the victor belong the 
spoils,” but he does not always get them, after all ;■ so you see, 
it is a case for special felicitation, when he does. And I must 
say, that I know of nothing of this nature that has been so com¬ 
pletely a piece of good news to me, as to hear that your 
long studied, and carefully written book, has proven a success, 
that will at once take the tangible shape of a fortune for you. 
If there is anything in this world that is a man’s very own, it is 
the work and product of his own brain and hand ; and I, for 
once, rejoice to see the author, the one to reap the true reward of 
his labor. Please accept my hearty congratulations. 

Your friend, 

J. W. Farr. 

3. Write a letter congratulating a friend on his approach¬ 
ing marriage. 

Phila., Penn., 

L. S. Clifford, Aug. 13, 1894. 

Peru, Neb. 

My Dear Friend : 

Few occasions, these days, inspire me to assume the 
burden of writing a letter. But now and then an event of 
special importance, calls me from other cares to my desk, to 
write with “ mine own hand,” true words that I am willing to 
send to other hands. Such an occasion is u now,” my friend, 
when word comes that you are about to take the most solemn 
vows and sacred trusts, and the most blest of privileges. You 
have chosen wisely, for a useful and happy life. From my 
heart, I congratulate you. In my opinion, there is no such 
thing as “ single blessedness.” The man who finds his “other 
self,” is truly, a wise and happy man. 

My dear friend, the best wish that I can express for you is : 
That you may live a long and happy life. 

With this hope, and my kindest regards to Miss Eva, and 
yourself, I shall ever remain, 

Sincerely yours, 

J*. W. Farr. 




INVITATIONS, ACCEPTANCES, ETC. 


189 


LESSON 146. 

INVITATIONS, ACCEPTANCES, ETC. 

1. A model wedding invitation . 


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190 


FARRIAN CORRESPONDENCE. 


#. Write cm invitation to a tea party. 




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3. Write a reply accepting an invitation to a tea party. 

At Home, March 2, 1893. 

Mr. Burr presents his compliments to Mr. Gates, and 
accepts, with pleasure, his invitation for Friday Eve., next. 

Corner St. John’s Place. 

J. Write a note declining an invitation to a tea party. 

At Home, March 2, 1893. 

Mr. Burr presents his compliments to Mr. Gates, and 
regrets, very much, that a previous engagement will prevent him 
from joining Mr. Gates’ party, on Friday Eve., next. 

Corner St. John’s Place. 


5. Write an invitation to an ice cream party. 

At Home, June 30, 1893. 

Miss Fannie Semmes sends her kind compliments to Miss 
Poe, and will be pleased to have the company of Miss Poe on 
Thursday evening next, when Miss Semmes expects a few other 
friends to join in a quiet ice cream party. 

Lake Street.. 





INVITATIONS, ACCEPTANCES, ETC. 


191 


6. Write an invitation to a friend inviting her to an even¬ 
ing social. 

At Home, July 6, 1893. 

Miss Lee presents her love to Miss Meade, and requests 
the pleasure of her company at an evening social, on Tuesday* 
the 16th instant. 

Garden Park Residence. 

7. Write a reply accepting an invitation to an evening 
social. 

At Home, July 7, 1894. 

Miss Meade accepts, with pleasure, the polite invitation of 
Miss Lee for Tuesday evening, the 16th instant. 


8. Write an invitation from one single gentleman to 
another , to join in a picnic excursion. 


Friend John : 


Columbus, Aug. 13, 1894. 


I am requested by Miss Martin to press you into tho 
service for a picnic excursion to Blue Lake. ' The party would 
be pleased to have you bring your fine musical instrument. 
The party will start from Beach landing at nine o’clock A. M. 
Remember the day, Friday, August 15th, and do not fail to bo 
there on time. As ever, 

Your friend, 


To John Jones, Cincinnati. 


Will Miller. 



192 


FARRIAN CORRESPONDENCE. 


LESSON 147. 

GENERAL REVIEW. 

1. Define correspondence. Make a blackboard analysis of corres¬ 
pondence. How many classes of letters are there? Name them. 
Define each. How many parts in a letter? Name them in order. 
How many parts in the heading? Name them. Define each partin 
order. Write a model letter heading. Name the parts of the intro¬ 
duction. Define each in order. Write a model letter of introduction. 
What is-included in the body of a letter? Explain each. What is 
said of paragraphs ? Of what does the conclusion of a letter consist ? 
Describe 1 each part in order. How many steps in folding a letter? 
Explain each. Give directions for [inserting a letter into the envelope, 

2. What is the superscription of a letter ? Of how many parts 
does it consist ? Name each part. Describe each part in order. Write 
three model superscriptions. Illustrate the parts of a letter upon the 
blackboard in order. Illustrate three forms of superscriptions upon 
the blackboard. Define stationery. Of what does it consist? De¬ 
scribe the stationery best adapted for general use. 

3. How many kinds of letters? Name them in order. What 
as a letter of application? Write one. What are business 
letters ? How are they divided ? Define each class. Write one. What 
is a letter of recommendation ? How are they divided ? Write one. 
What are letters of condolence? Write one. What are letters of 
friendship ? How are they divided? Define each class. Write one of 
•each. What is a letter of introduction? Write one. What is a 
letter of congratulation ? Write one. 

4. State in order where capitals should be employed in corres¬ 
pondence. Define punctuation. Name the punctuation marks in order. 
For what is the comma used ? The semicolon ? The colon ? The 
period? I he interrogation point? The exclamation point? The 
hyphen ? The dash ? The parenthesis ? The quotation marks ? 

5. What is said of blots? Erasures? Underlinings? Cross- 
lines? Flourishes? Posts ripts? Character &? Interlineation? 
Figures ? Slang ? Tautology ? Bombast ? Pencil writing ? For¬ 
eign languages ? 

6.. What is embraced under the head of literary items ? What is 
meant by style of letters ? Correct spelling ? Arrangement of items ? 
Grammatical accuracy ? Abbreviations ? Brevity of letter ? 

7. What is postage ? What is meant by mailable matter ? Into 
how many classes is mail divided ? What is included in each class 
respectively ? Give the rate of postage for each class in order. What 
are the rates of postage to Canada, Mexico and countries in the uni¬ 
versal postal union? What is the limit of weight of a package of 
mail matter by law ? What articles are excluded from the mail ? 
Give the general directions to be observed in correspondence. What 
is said of postal cards ? 






GENERAL REVIEW. 


193 


8. Define Invitation. Acceptance. Regret. Write a note of 
invitation. Of acceptance. Of regret. Write a note of invitation 
to one of your classmates to attend a picnic party. Write another 
•accepting it. Write another declining the invitation. Write a note 
of excuse for having been tardy or absent from school. 


LESSON 148. 


WRITE A LETTER TO-NIGHT. 

“Don’t go to the theatre, concert or ball, 

But stay in your room to-night: 

Deny yourself to the friends that call, 

And a good long letter write.” 

“ Write to the sad old folks at home, 

Who sit when the day is done, 

With folded hands and downcast eyes, 

And think of the’ absent one.” 

“ Don’t selfishly scribble, ‘Excuse my haste— 

‘ I’ve scarcely time to write.’ 

Let these brooding thoughts go wandering back 
To many a by-gone night,” 

“When they lost their needed sleep and rest, 

And every breath was a prayer 
That God would leave their de.icate babe 
To tbeir tender love and care.” 

“Don’t let them feel that you've no more need 
Of their love or counsel wise, 

For the heart grows strangely sensitive 
When age has dimmed the eyes.” 

“ It might be well to let them believe 
You never forget them quite, 

That you deem it pleasure, when far away, 

Long letters home to write.” 

“Don’t think that the young and giddy friends, 
Who make your pastime gay, 

Have half the anxious thought for you 
That the old folks have to-day.” 

“ The duty of writing do not put off; 

Let sleep or pleasure wait, 

Lest the letter, for which they looked and longed 
Be a day, or an hour, too late.” 

“ For the sad old folks at home, 

With locks fast turning white, 

And longing to hear irom the absent one, 

Write them a letter to-night.” 








104 


FARRIAN BUSINESS FORMS. 


BLACKBOARD ANALYSIS. 


BUSINESS FORMS. 
BUSINESS TERMS. 

1. Contracts— 

(1) Landlords’. 

(2) Builders’. 

(3) Clerks’. 

(4) Teachers’. 

(5) Tenants’. 

(6) Sale of land. 

(7) Sale of grain. 

2. Bills—- 

(1) Bill of statement. 

(2) Bill of account. 

(3) Bill of Exchange. 

(4) Due bill. 

(5) Bill of lading. 

(6) Bill of invoice. 

(7) Bill of sale. 

3. Legal Papers— 

(1) Surety. 

(2) Bond. 

(3) Deeds. 

(4) Acknowledgements. 

4. Partnership— 

(1) Articles. 

(2) Dissolution. 

(3) Notice. 

5. Legal Letters of— 

(1) Credit. 

(2) Resignation. 

(3) Guaranty. 

(4) Advice. 

(5) Acknowledgement. 

(6) Prices. 

(7) Remittance, etc. 

6. Receipts— 

(!) On account. 

(2) In full. 

(3) In full of account. 

(4) For payment. 

(5) In full for bill of goods. 

(6) For lading a wagon, etc. 

(7) For pasturing stock. 


LEGAL TERMS. 
BUSINESS GUIDE. 

7. Notes— 

(1) Join' note. 

(2) Negotiable. 

(3) Not negotiable. 

(4) Promissory. 

(6) Note on time. 

(6) Judgment. 

(7) Bank note. 

8. Lease— 

(1) House. 

(2) Farm. 

9. Mechanic’s— 

(1) Lien. 

(2) Affidavit. 

10. Drafts— 

(1) Sight. 

(2) Time. . 

(3) Bank. 

11. Certificate of— 

(1) Deposit. 

(2) Schola'ship. 

(3) Teachers’. 

12. Assignment of— 

(1) Bond. 

(2) Account. 

(3) Insurance. 

13. Attachment— 

(1) Affidavit. 

(2) Order. 

14. Business Papers— 

(1) Insurance policy. 

(2) General form of mortgage-.. 

15. Message, petition, etc. 

(1) Telegraph message. 

(2) Form of petition. 

(3) Power of attorney. 

16. Notice, protest and will- 

(1) Protest notice. 

(2) Public sale notice. 

(3) Protest papers. 

(4) General form of will- 





BUSINESS FORMS. 


195 


LESSON 149. 


PART III. 


BUSINESS EORMS. 

1. Define the term Business Forms. 

By the term Business Forms is meant legal forms, which are 
written or printed, or both, according to law, and used in the 
transaction of all legal business. 

< 2. What does the term Legal Business include f 

It includes all business which is lawful, and not contrary to 
the statutes and constitution of the United States, or the State in 
which the business is transacted. 

3. What does the term Business Forms include f 

It includes all kinds of business and commercial papers, as 
contracts, surety, bills, bonds, deeds, acknowledgement, articles 
of partnership, leases, legal letters, receipts, notes, checks, 
invoices, assignment, attachment, liens, certificates, poli¬ 
cies, mortgages, wills, etc. 

L Define the term Contract. 

A contract is an agreement, between two or more persons, 
upon a sufficient consideration, to do or not to do, some specified 
act. Each party is a contractor, and together are called the 
contracting parties. 

5. Define the term Bills , as applied in business forms. 

Bills are written accounts, statements, orders or requests, for 

goods, money, etc. 

6. Define the auxiliary terms used in connection with bills. 

The one who draws the bill is called the drawer. The one 

on whom it is drawn is called the drawee. If he accepts it lie 
signs his autograph below the drawer, or endorses it across the 
face of the bill, and then he is called the acceptor of the bill, 
which is styled acceptance. The person to whom the monej is 
paid is called the payee. The one who holds the bill, at any time, 
is called the holder. The one to whom the bill is made payable 
is called the indorsee. It is legal for a bill to pass from hand to 
hand without anyone endorsing it, but in case it should be dis¬ 
honored none of them are liable to the last holder. There are 





196 


FARRIAN BUSINESS FORMS. 


different kinds of bills, as bills of invoice, bank bills, bills of ex¬ 
change, due bills, bills of lading, bills of articles, bills of sale, etc. 

7. Define the term Bill of Statement. 

A bill of statement is a list of items of work done. It con¬ 
tains the name of the place where the labor was done, with the 
date of each item, and the name of the person, or company, doing 
the work, and the name of the person, or firm, for whom the work 
was done, terms of payment, description of items, price of each 
item. If the labor is paid for at the time it is completed the 
statement should be receipted by writing below the items u Re¬ 
ceived Payment,” and signed by the employee, or his agent. 

8. Define the term Bill of Account. 

A Bill of Account is a written record pertaining to a busi¬ 
ness transaction. 

9. Define the term Bill of Exchange. 

Bills of Exchange are of two kinds, viz.: Inland and For¬ 
eign. It is a written order, or request, from one person to 
another, desiring the latter to pay to some person mentioned 
therein, a certain sum of money on a certain day. In order to 
be negotiable, it must be made payable to order, or bearer, 
and also state it is u for value received.” 

10. Define the term Due Bill. 

A Due bill is a written statement showing that the drawer 
owes the drawee a certain amount set forth therein. 

11. Define the term Bill of Lading. 

It is a receipt given by the master of a vessel, or R, R. agent, 
for articles that have been shipped. It sets forth the contract as 
to their delivery, freight, quality, brands, marks, etc. 

12. Define the term Bill of Invoice. 

A Bill of Invoice is a. complete list of goods that have been 
sold, with their prices, sent by the seller to the purchaser. 

13. Define the term Bill of Sale. 

It is a legal document, or instrument of writing, conveying 
and transferring the right to certain goods, etc., which are 
specified therein, from one person to another. 

Define the term legal papers. 

Legal papers are documents or instruments of writing, 
which are written according to law. Lawful. 




BUSINESS TERMS. 


197 


LESSON 150. 


BUSINESS TERMS. 

1. Define the term Surety as used in business forms. 

A surety is a form attached to a note, contract, etc., which is 
signed by another party, by which he becomes surety for the 
punctual payment of the money, rent, etc., and the punctual 
performance of the covenants in the written agreement. 

3. Define the term bond. 

A bond is a legal document or instrument of writing, by 
which a person binds himself to perform a contract or pay a 
certain sum of money at a stated time designated therein. 

3. Define the term deed. 

A deed is a document or sealed instrument in writing upon 
parchment or paper, duly executed and delivered, containing 
some transfer, bargain, agreement or contract. It is an original 
or official paper relied upon as the support or proof of anything. 

f Define the term acknowledgement. 

An acknowledgement is a legal form accompanying a deed,, 
mortgage, etc., in which the party making the deed, acknowl¬ 
edges before a magistrate, that he signed and sealed the indent¬ 
ures as his free act and deed. The acknowledgement is signed 
and sealed by the magistrate. 

5. Define the term partnership. 

Partnership is a contract between two or more persons for 
joining together their money, skill, goods and labor, any or all 
of them, with an agreement that there shall be a communion of 
profits, according to the shares agreed upon between them, and 
for the purpose of doing a legal business, trade or adventure. 
The term is usually applied to companies. 

A silent partner is one who furnishes capital only, taking 
no active share in the general business. 

6. Name the principal legal letters. 

Letters of credit, letters of resignation, letters of guaranty, 
letters of advice, letters of license, letters of prices, letters of 
remittance, and letters of acknowledgement. 






198 


FARRIAN BUSINESS FORMS. 


7. Define the term receipt. 

A receipt is an acknowledgement in writing, of a certain 
sum of money or goods having been received, from a certain 
person named. An account is acknowledged by writing at the 
bottom, “Received payment,” and signing your name. 

8. Define the term note. 

A note is a written promise to pay to some person therein 
named at a specified time a certain sum of money. 

9. Name the different hinds of notes. 

There are seven, viz.: joint note, negotiable, not negotiable, 
promissory, on time, judgment and bank note. 

10. Define the term lease. 

A lease is an agreement in writing for letting of tenements 
or lands to another for a term of years, or for life, and some¬ 
times at will, or for any interests the lessor has in the 
property, or for rent or compensation to be paid by the lessee. 

11. Define the term mechanics lien. 

It is a claim, or right, voluntarily granted by its owner, to 
hold and retain certain real or personal property of another*, 
until some claim of the former is paid or satisfied. 

12. Define the term lien. 

A lien is a right or claim upon personal property voluntarily 
granted by its owners for the security of some debt or duty. It 
is the right of one person, to hold and retain the property of 
another, until some claim of the former is paid or satisfied. 

IS. Define the term draft. 

A draft is an order on a banker for a certain sum of money, 
payable on demand to a certain person named, or to his order or 
bearer. A check should be presented to the banker as soon as 
received ; if detained after the date drawn, and the bank should 
fail, the amount can not be recovered from the drawer of the 
check. When presenting a check, the holder must be identified 
by the teller of the bank. This inconvenience can be obviated, 
by the drawer writing beneath endorser’s name on the back, 
Indorsement correct , J. W. Farr. The teller of a bank may 
certify a check, and then it can be used as cash, provided the 
credit of the banker is good. A certified check is at once 
charged against the account of the drawer. 




LEGAL TERMS. 


199 


LESSON 151. 


LEGAL TERMS. 

1. Define the term certificate. 

A certificate is a written or printed testimony certifying 
the truth of any fact, or a written declaration legally authen¬ 
ticated. There are three kinds, viz.: Certificate of deposit, 
certificate of scholarship and teacher’s certificate. 

It is an instrument certifying to certain facts and signed by 
the proper authorities. 

Define the term certificate of deposit. 

A certificate of deposit is an instrument of writing usually 
given by a bank, certifying that a certain amount has been 
deposited. 

3. Define the term certificate of scholarship. 

A certificate of scholarship is one granted by the principal 
of a school or president of a college, setting forth the subjects, 
taken with the grades made in each, and certified by the princi¬ 
pal or president. 

f Define the term teacher's certificdte. 

A teacher’s certificate is a written instrument usually 
granted by a legal board of examiners, certifying that the per¬ 
son named therein is of good, moral character, and qualified to 
teach certain specified branches for a number of years from 
date of issue, and signed by the chairman of the board. 

5. Define the term assignment. 

An assignment is an appointment of a certain person to 
take charge of and manage goods or money. It is the transfer 
of property of any kind, or making over a right to another 
person by a legal document, which is called a deed of assign¬ 
ment. The person who makes over the property, is called the 
assignor. The one to whom the property is assigned, is the 
assignee. 

6. Define the term attachment. 

An attachment is a legal process by which an embargo is 
laid upon money due, or goods in possession of other persons 
who are thereby prohibited from parting with said money, or 






200 


FARRIAN BUSINESS FORMS. 


property, or paying the money due, until a claim against the 
owner is settled. The attachment must be preceded by an 
affidavit before the order of attachment is issued. 

7. Define the term policy. 

It is an instrument of waiting in which a contract of assur¬ 
ance, or insurance, is embodied, with the terms and conditions 
specified therein. 

A policy is a written or printed instrument in which an 
insurance company agrees to pay a certain amount in case of 
loss by fire, wind, lightning, hail, death, etc. 

8. Define the term mortgage. 

A mortgage is the conveyance of property, upon certain 
conditions, as security for the payment of a debt or faithful 
performance of a duty, and to become void upon the payment 
or performance of said duty. The party who gives the mort¬ 
gage is the mortgagor, and the one to whom it is given is 
the mortgagee. 

It is the conveyance upon certain specified conditions, as a 
security for the performance of a certain duty, or the payment 
of a debt, and to become void upon performance or payment. 

9. Define the term telegraph message. 

A telegraph message is a verbal or written communication 
sent by wire or telegraph. 

10. Define the term petition. 

It is a business form, usually praying a regularly organized 
body to do or not to do a certain thing, and signed by the peti¬ 
tioners. 

11. Define the term power of attorney. 

It is a legal document, or instrument, conveying to another 
person, usually residing at another place, authority to act and 
sign the giver’s name, either without reserve, or in a special 
case, which should be fully described in the power of attorney* 

1%. Define the term will. 

A will is a legal declaration or instrument in writing, exe¬ 
cuted according to law, by which a person makes a disposition 
of his estate, to take effect after his death. 




LEGAL TERMS. 


201 


A legal testament or declaration of a person, stating how 
he would have his real and personal property disposed of after 
his death. 

13. Define the auxiliary terms of a will. 

(1) The testator is the one who makes and signs his 
signature to the will. 

(2) The donee is the one who receives property by tha 
terms of the will. 

(3) The executor is the one who writes or executes tha will 
for the testator. 

(4) Any one of suitable age and judgment may be a sub¬ 
scribing witness to a will. The place of residence should be.- 
written opposite each witness’ signature. 

(5) The subscribing witnesses to a will should sign their 
signature only at the request of the testator, in his presence,, 
and in the presence of each other. 

(6) The testator should declare the instrument to be his last 
will at the time the witnesses attest it. 

(7) In most of the states, three subscribing witnesses ara 
required by law to make a will valid. 

D. Define the term transcript , as used in legal business - 

A transcript is a writing of any kind that has been tran¬ 
scribed from, and according to an original copy. It is a com¬ 
position, or reproduction, consisting of the same words with 
the original copy. The one who transcribes the transcript is 
called a transcriber, or copyist. The act of copying is called 
transcription. 



14 




202 


FARRIAN BUSINESS FORMS. 


LESSON 152, 


BUSINESS GUIDE. 


1 . 

2 . 

3. 

4. 

5. 

6 . 

. 7. 
. 8 . 

9 . 

10 . 

11 . 

12 . 

13. 

14. 

15. 

16. 

17. 

18. 

19. 

20 . 
21 . 


Ignorance of the law excuses no one. 

It is a fraud to conceal a fraud. 

The law compels no one to do impossibilities. 

A contract without consideration is null and void. 
Signatures made with a lead pencil are good in law. 

A receipt for money paid is not legally conclusive. 

The acts of one partner bind all the others. 

Contracts made on Sunday cannot be enforced. 

A contract made with a minor is not valid. 

A contract made with a lunatic is not valid. 

Contracts made for advertisements in Sunday newspa¬ 
pers are not valid. 

Principals are responsible for the acts of their agents. 
Agents are responsible to their principals for errors. 
Each individual in a partnership is responsible for the 
debts of the firm. 

A note given by a minor is not valid. 

Notes bear interest only when so stated. 

It is not legally necessary to say on a note “for value 
received.”, 

A note drawn on Sunday is not valid. 

A note obtained by fraud, or from a person in a state 
of intoxication, is not valid. 

If a note be lost or stolen, it does not release the maker. 
An indorser of a note is exempt from liability, if he 
writes “ Without recourse” above his signature. 


1 . 

2 . 

3. 

4. 

5. 

6 . 

. 7. 
. 8 . 

9. 

10 . 

11 . 

12 . 

13. 

14. 

15. 

16. 

17. 

18. 

19. 

20 . 
21 . 





CONTRACTS. 


203 


LESSON 153. 


CONTRACTS. 


1. Draw a contract between a landlord and tenant . 



m 





C?f c^ainrt. 




204 


FARRIAN BUSINESS FORMS. 


< 2. Draw a builder’s contract. 

Contract for building, made the 14th day of Aug. 1893, by 
and between J. W. Farr of the first part, and E. K. Isaac of 
the second part, in these words: The said party of the second 
part covenant and agree to and with the said party of the first 
part, to make, erect, build and finish, in a good, substantial and 
workmanlike manner, on the (here describe location) agreeable 
to the draft, plan and explanation hereunto annexed, of good 
and substantial materials, by the 28th day of October next. 
And the party of the first part, covenants and agrees to pay 
unto the said party of the second part, for the same, the sum of 
five hundred dollars ($500) lawful money of the United States, 
as follows : The sum of fifty dollars ($50) in advance, and for 
the true and faithful performance of all the covenants and 
agreements above mentioned, the parties to these presents bind 
themselves each unto the other in the penal sum of one thous¬ 
and dollars ($1,000), as fixed and settled damages to be paid by 
the failing party. 

In witness whereof, the parties to these presents have here¬ 
unto set their hands and seals the day and year above written. 

J. W. Farr, 

E. K. Isaac. 

Sealed and delivered in the presence of ) 

J. H. Ray, E. E. White. \ 

3. Draw a contract with a clerk for services. 

It is agreed, this 10th day of January, 1893, between C. 
Townsend and L. Wallace, all of the City of Cincinnati, and 
State of Ohio, in manner following, towit : 

That said E. Wallace covenants and agrees, faithfully and 
diligently, to serve and act as clerk for the said C. Townsend, 
in his store in said city, from the day of the date hereof, for 
and during the space of one year, if both parties shall so 
long live, without absenting himself from the same ; during 
which time, he, the said L. Wallace, will, in the store of the 
said C. Townsend, faithfully, honestly and diligently attend, 
doing and performing all matters pertaining to his duties as 
clerk aforesaid, and in all respects complying with the request 
and desire of said C. Townsend, relative to the discharge of 



CONTRACTS. 


205 


such duties. In consideration of which services so to be per¬ 
formed by the said L. Wallace, I, the said C. Townsend, cove¬ 
nant and agree to allow and pay to the said L. Wallace, the 
yearly sum of nine hundred dollars ($900), in four quarterly 
payments, or oftener if required ; provided, nevertheless, that 
payment for all time during which the said L. Wallace may be 
absent from the store of 4 the said C. Townsend, is to be deducted 
from the sum, otherwise by this agreement due from, and pay¬ 
able by, the said C. Townsend to said L. Wallace. 

Witness our hands and seals day and year first written. 

C. Townsend, 

L. Wallace. 

Signed, sealed and delivered in presence of \ 

A. C. Webb, J. W. Farr. j 


k. Draw a teacher's contract. 

It is hereby agreed, by and between the public schools of 
the City of Kansas City, County of Wyandotte, State of Kan¬ 
sas, party of the first part, and J. W. Farr, party of the second 
part, the holder of a diploma, state or county certificate, this 
day in force, that said teacher is to teach, govern and conduct 
the public schools of said city to the best of his ability, follow 
the course of study adopted by the board of education, keep a 
register of the daily attendance and studies of each pupil be¬ 
longing to the school, make all reports required by law, and 
such other reports as may be desired by the superintendent of 
public instruction, and endeavor to preserve in good condition 
and order the school house, grounds, furniture, apparatus and 
such other school property as may come under the immediate 
supervision of said teacher, for a term of ten school months, 
beginning on the 4th day of September, A. D. 1894, for the 
sum of two hundred dollars per school month, to be paid by the 
party of the first part at the end of each month: Provided , 
That in case the party of the second part shall be legally dis¬ 
missed from school, or shall have his certificate legally annulled, 
by expiration or otherwise, then said teacher shall not be en¬ 
titled to compensation from and after such dismissal, or annul¬ 
ment. Provided further, That the wages of said teacher for the 
last month of the school term shall not be paid until said teacher 



206 


FARRIAN BUSINESS FORMS. 


shall have made the reports hereinbefore mentioned. And the 
said board of education hereby agrees to keep the school building 
in good repair, to provide the necessary fuel, school register, 
and such other supplies as may be necessary for carrying on a 
well regulated school. 

In witness whereof, we have hereunto subscribed our 
names, this the 25th day of March, A. D. 1894. 

H. N. Robinson, President. 

J. W. Farr, Prin. 

f j W. Swinton, Treas. 

Attest . j j D Steel? C lerk. 

5. Draw a tenant's contract. 

This is to certify, that I have hired and taken from A. S. 
Barnes, of the city of San Francisco, Cal., a house and lot, 
known as 20 Main street, in the city of San Francisco, aforesaid, 
for the term of one year, from the 30th of April 1893, at the 
yearly rent of two hundred dollars ($200), payable quarterly. 

And I hereby promise to make punctual payment of the 
rent in the manner aforesaid, and quit and surrender the prem¬ 
ises, at the expiration of said term, in as good state and condi¬ 
tion as reasonable use and wear thereof will permit, damages 
by the elements excepted, and engage, not to let or underlet the 
whole or any part of the said premises, without written consent 
of the landlord, under the penalty of forfeiture and damages ; 
and also not to occupy the said premises for any business 
deemed extra hazardous, without the like consent, under like 
penalty. 

Given under my hand and seal the 30th day of April 1893. 

James F. Edward. 

Delivered in presence of [ 

R. T. Hinman, J. E. Sherrill, j 

6. Draw a contract for the sale of land. 

Agreement made and entered into the 12th day of June, 

1893, between J. W. Farr, of Omaha, county of Douglas, and 
State of Nebraska, and J. S. Hart, of Topeka, county of Shawnee, 
State of Kansas, Witnesseth : That the said Farr, in considera¬ 
tion of the sum of eight hundred dollars, ($800) now paid, and 
the further sum of fourteen hundred dollars, ($1,400), to be 



CONTRACTS. 


207 


paid when a deed is executed, doth grant, bargain and sell unto 
said Hart, his heirs, and assigns, all that piece of ground, locate, 
etc., (Iiere describe premises,) together with all and singular 
appurtenances thereunto belonging, or in any wise appertaining. 

And the said parties bind themselves, their heirs, executors 
and administrators, for the performance of all and every part 
of the above agreement; as witness their hands and seals, day 
and year, above written. 

J. W. Farr, 

J. S. Hart. 

Signed, sealed and delivered in the presence of ( 

J. L. Swett, S. W. Clark. j 

Received, June 12th 1893, of J. S. Hart, eight hundred 
dollar j, (1800), the first payment above mentioned. 

J. W. Farr. 


7. Draiv a contract for the sale of grain. 

It is agreed, this first day of September 1893, by and be¬ 
tween T. H. Huxley, of Kansas City, county of Jackson, and 
State of Missouri, and W. J. Youmans, of Chicago, county of 
Cook, and State of Illinois, as follows : The said Youmans, in con¬ 
sideration of five hundred bushels (500) of wheat, to him this day 
sold by the said Huxley, and by the said Huxley agreed to be de¬ 
livered to them, the said Youmans, on or before the first day of 
November next, free of all charges, agree to pay to the said 
Huxley, within one month after such delivery, the sum of five 
hundred and twenty-five dollars, ($525), and the said Huxley, in 
consideration of the aforesaid agreement of the said Youmans, 
doth hereby agree to forward, and deliver, to the said Youmans, 
at Chicago, aforesaid, free of charge, the said five hundred 
bushels of wheat, so to them sold as aforesaid, hereby warrant¬ 
ing the same to be good, clean and merchantable grain. 

Witness our hands and seals, day and year, first written. 

T. H. Huxley, 

W. J. Youmans. 

Sealed and delivered in presence of 1 

J. W. Farr, A. S. Duncan. j 



208 


FARRIAN BUSINESS FORMS. 


LESSON 154. 


BILLS. 

1. Draw a Bill of Statement. 


C^U^l/V %. SvvlWo^ 

3o y. ASL Saw S »v- 

‘dAvWvav O/wA/ 3wWl'vAv(y\y&- 


vooi 








V 

SOA, VA/- oA_ 

5) 

$o 



V.V. 


^ V\ vC ^ ^ 

' 5) 

50. 

% 

vO 

•v.v» 

vb 

vs SuM/M/to oAj. 




50 



^ Ia/au WuxA/ £w 

_ ^ 

SUsj 



- 

‘w 

^ % WaJu wSvi/vo \fas- 


^0 


Sly 


A: 

^ b \am/u WwX 


1^0 

v)^ 

Vv 


SvWU/WL' So/V^VU/OwVy^ 

v \S. W. 















BILLS. 


209 


2, Draw a Bill of Account. 

Carson City, Nev., Nov 1,1898. 

Mr. D. L. Moody, 

Bo’t of J. W. Farr & Bro. 


1893 

Aug. 

10 

364 Farrian Penmanship 

1.00 

364 


Sept. 

1 

493 44 Correspondence 

50c. 

246 

;50 

Oct. 

29 

240 44 Business Forms, etc. 

50c. 

120 


Nov. 

1 

175 44 Book-keeping 

25c. 

43 

75 





1174 

25 


Received Payment, 

J. W. Farr & Bro. 

Per J. W. F. 

3. Draw a Bill of Exchange. 

$900 50-100. Indianapolis, Ind. 

Aug. 19, 1893. 

Ninety days after sight, pay to the order of G. A. Gaskell 
the sum of nine hundred and 50-100 dollars, value received, and 
charge the same to the account of L. D. Smith. 

P. R. Spencer. 

To A. W. Knowles, Chicago, Ill. 

Accepted Sept. 20, 1893, Payable at First Union Bank. 

A. W. Knowles. 

f Draw a Due Bill. 

$50.00 Louisville, Ken., Oct. 12, 1893. 

Due T. J. Backus fifty dollars ($50.) on demand value 
received. 

J. W. Farr. 

5. Draw a Bill of Lading. 

Springfield, III., 

Nov. 24, 1893. 

Shipped, in good order, and condition, by J. Baldwin, on 
the Union Pacific R. R., whereof, I, A. M. Gow, am agent, 
at this present date, and now at this station, and bound for San 
Francisco. 

J. B. 1 to 4 Five hogsheads of Beer. 

4 to 7 Ten casks of Brandy. 

(C. E.) 2 to 4 Three barrels of Alcohol. 












210 


FARRIAN BUSINESS FORMS. 


Being marked and numbered as in the margin, and are to be 
delivered in the like good order, at the aforesaid station of San 
Francisco, unto A Bain, or his assigns, freight for the said goods 
being paid here. In witness whereof, I, the said agent of 
the said R. R., have affirmed to three bills of lading, all of this 
tenor and date ; the one of which three bills being accomplished, 
the other two stand void. 

Dated at Springfield, Ill., Nov. 21, 1893. 

A. M. Gow. 


6. Draw a Bill of Invoice, 

J. Ogden & Son, 

20 Spellers 
30 Readers 

50 Farrian Copy Books 
6 Hand Books 
12 Reams Legal Cap Paper 
1 Bundle Fancy Note Paper 
10 Higher Grammars 
10 Graded Grammars 


New York, Dec. 22, 1893. 

Bo’t of American Book Co. 


15c. 

each 

$ 3.00 

25c. 

it 

7.50 

10c. 

a 

5.00 

50c. 

a 

3.00 

$1.00 

a 

12.00 

2.50 

it 

2.50 

65c. 

it 

6.50 

40c. 

it 

4.00 


$43.50' 


Received Payment, 

American Book Co. 

Per J. W. F. 


7. Draw a Bill of Sale . ' 

Know all. men by these presents, that I, L. C. Cooley, of : 
St. Louis, county of St. Louis, and state of Missouri, in consid¬ 
eration of four hundred dollars ($400.), to me paid by J. W. 
Farr, of the same place, have bargained and sold to the said 
J. W. Farr the following goods and chattels, to wit: Three- 
horses, one mule, one buggy, four cows and three calves. In 
witness whereof I have hereunto set my hand and seal, this the 
third day of Aug., 1893. 

Signed sealed and delivered in presence of L. C. Cooley. 

J. Hawthovne, L. Lemmon. j 






LEGAL PAPERS. 


211 


LESSON 155. 


LEGAL PAPERS. 

1. Draw a legal form of surety. 

c/n crndZ/dtaZ/m djZZ/d yaymdnZ yZ=^H Z/d 
ny <yZ==//did /dddiZ/d Z/d ZndZiamdnZ yZmi/Z/ny 
yZi w/Zd/ yda /dddmd daidZyJ an/yZi Z/ gam yZ 
#nd /d/at, cZ /dtd/y /dddmd datdZy yZt Z/d /andZaa/ 
-yfraymdnZ #/ Z/d Zd/Z, H idnZ, an/ Z/d /dtyZtmandd 
dyZ j Z/d ddP-dnanZd m Z/d mi/ZZdn aytddmdnZ mdnZZnd/, 
Zd / yia/Z an//diyZt mg/ /y C M. ZO/ZdMddn, an/ 

yZany Zd/aa/ d/aZ/d ma/d ZZdid/n, cZ /dtd/y'/tdm^ 
we an/ aytdd Zd /ay anZd Of'. ZZ/att, dad/ dam 
H damd dyZmdndy, ad m//Z Zd day^fd/dnZ Zd ma/d a/ 
dad/ ZdyZd/dndy, an//aZdy daZd/y Z/d dan/Z/dnd y? 
Z/d da// aytddmdnZ, m/Z/aZ tdya/i/ny any ndZ/dd <y^ 
nan/aym^nZ dt /tddyZy^/man/ Zd/ny ma/d. 

j/f/adn an/di my /an/ an/ dda/ Z/d, Z/d 
%$// /ay d/ CZZ/i// d<$f8. 

C/. 9. BdaA 


i 


dt/md, 


cZ. 


an/fd// 






212 


FARRIAN BUSINESS FORMS. 


2. Draw the general form of a bond. 

Know all men by these presents, that I, J. W. Farr, of St. 
Joseph, County of Buchanan, and State of Missouri, am held and 
firmly bound unto G. E. Semour, of the same place, in the 
sum of four thousand dollars, lawful money of the United 
States, to be paid to the said G. E. Semour, his certain attor¬ 
ney, executors, administrators or assigns; to which payment 
well and truly to be made, I do bind myself, my heirs, execu¬ 
tors and administrators, firmly by these presents; sealed with 
my seal, and dated this first day of May, one thousand eight 
hundred and ninety-three. The condition of this obligation is 
such that if the above bonded J. W. Farr, his heirs, execu¬ 
tors, administrators, or any of them, shall and do well and truly 
pay, or cause to be paid unto the aforesaid G. E. Semour, his 
executors, administrators or assigns, the full and just sum of 
two thousand dollars, lawful money as aforesaid, with legal 
interest on the same, on or before, the first day of October, 
next, without fraud or further delay, then this obligation to be 
void, and of none effect; otherwise, to be and remain in full 
force and virtue. 

J. W. Farr. 


Signed, sealed and delivered in presence of 
T. R. Vick, A. Kerr. 


3. Draw the general form of a deed. 

Know all men by these presents, that I, A. N. Raub, of 
Des Moines, and State of Iowa, for, and in consideration of the 
sum of six hundred dollars to me paid, by R. D. Shannon, of 
Madison, and State of Wisconsin, the receipt whereof is hereby 
acknowledged, do give, grant, sell and convey unto the said 
R. D. Shannon, all that (describe the premises) ; to have and to 
hold the same to the said Shannon, his heirs, and assigns, to his 
and their use forever : And I, the said Raub, covenant with the 
said Shannon, his heirs and assigns, that I am lawfully owner in 
fee of the premises ; that they are free from all incumbronces; 
that I have a good right to sell the same as aforesaid ; and that 
I will warrant and defend the same to the said Shannon, his 



LEGAL PAPERS. 


213 


heirs and assigns, against the lawful claims and demands of 
all persons. 

In testimony whereof, I, Ihe said A. N. Raub, have here¬ 
unto set my hand and seal, this 30th day of December, 1893. 

A. N. Raub. 

Signed, sealed and delivered in the presence of ) 

G. F. Hall, S. S. Hamill. j 

J. Draw an acknowledgement of a legal business form. 

City of Denver, ) 

State of Colorado, j 

Before me, J. W. Farr, one of the magistrates, within and 
for the said city, Denver, Col., personally appeared, E. B. 
Andrews, who, in due form of law, acknowledged that he did 
sign and seal the (describe the written indenture) as his free act 
and deed. 

In witness whereof, I have hereunto set my hand and seal, 
this 10th day of January, 1894. 

J. W. FaRR, 

Magistrate. 


LESSON 156. 


PARTNERSHIP. 

5. Draw article of Copartnership for doing business. 

Articles of agreement made and concluded, January 1, 
A. D. 1894, by and between J. S. Miller, party of the first 
part, and J. W. Farr, party of the second part, for a term of 
five years, unless this agreement is sooner annulled by mutual 
consent of the parties, or otherwise. 

1. The parties hereby agree to become co-partners under 
the firm name of Miller and Farr, and as such partners, to do 
a united general merchandise, book and stationery business at 
Tenth and Main streets, in the City of Omaha. 

2. The said J. S. Miller, party of the first part, agrees to 
contribute the sum of five thousand dollars, ($5,000,) to the 






214 


FARRIAN BUSINESS FORMS. 


-capital of said firm; and J. W. Farr, party of the second part, 
agrees to contribute the sum of five thousand dollars ($5,000,) 
to the same purpose. The total sum of six thousand dollars 
($3,000,) of said capital to be expended in the purchase of stock, 
books and stationery for the above named firm. 

3. The said J. S. Miller, party of the first part, shall con¬ 
duct and superintend the wholesaling and retailing of goods, 
and the said J. W. Farr, party of the second part, shall have 
exclusive charge of purchasing goods and keeping books for 
the firm. 

4. All the net profits arising out of the said business shall 
be equally divided at the end of each quarter, and when the 
books are finally closed between J. S. Miller, party of the first 
part, and J. W. Farr, party of the second part. 

5. If, on closing the books or business there shall have 
been a net loss sustained, it shall be borne equally by the above 
members of said firm. 

6. Each partner to devote all his time to said business, and 
to use his best efforts to make the business a success, and pro¬ 
mote the interests of the firm in an honest, lawful way. 

7. And at the end of the aforesaid period of five years, or 
other sooner determination of these presents, whether by the 
death of one of the parties hereunto, or otherwise, the said co¬ 
partners, each to the other, or in case of the death of either, 
the surviving partner of the party deceased shall and will make 
a true, full and final account of all things, as aforesaid, and in 
all things agree to well and truly adjust the same : and, also ; 
that upon making such final accounts, all the stock on hand, as 
well as the gain and increase thereof, shall be equally appor¬ 
tioned and divided between the surviving party and lawful heirs 
of the deceased. 

In witness whereof, the said parties to these presents here¬ 
unto set our hands and seals, the day and year first above written. 

J. S. Miller, 

J. W. Farr. 

Signed, sealed and delivered in presence of ) 

A. Wood, I. Watts. \ 



PARTNERSHIP. 


215 



6. Draw a Dissolution of Partnership. 

We, the undersigned, do mutually agree, that the partner¬ 
ship formed between us, by the within articles, be, and the 
same is, hereby dissolved, except for the purpose of the final 
liquidation and settlement of the business thereof; and upon 
such settlement, wholly to cease and determine. 

In witness whereof, we have hereunto set our hands and 
seals, this 10th day of January, 1893. The above is indorsed 
upon back of the original articles of partnership. 


S. S. Clark, 
D. Appleton. 


Signed, sealed and delivered in presence of, ) 

J. W. Farr, L. S. Cushing. ) 

7. Draw a notice of Dissolution of Partnership. 

Notice is hereby given, that the partnership lately subsist¬ 
ing between A. W. Young and A. Gray, of Baltimore, Md., 
under the firm name of Young and Gray, was dissolved by 
mutual consent, on the first day of April 1894. All debts owing 
to the said partnership are to be received by the said A. W. 
Young, and all demands on the said partnership are to be 
presented to him for payment. 


A. W. Young, 
A. Gray. 


Dated at Topeka, April, 2, 1894. 




216 


FARRIAN BUSINESS FORMS. 


LESSON 157. 


LEGAL LETTERS. 


1. Draw a letter of credit . 

ats 


vc 




fcildin 


e a. 


>, <Dl r . St., 

/4 l 48qU. 


C tB<MAe fdtu, ftcli 


tit 


Ct/rl/'Q'. 


emiienicn: 


SSeai-e de lived to O l (£jmiodt\ ejl tlvtA 
city, meicliandiAe tv any, amcant, nvt exceed- 
tAvudand dv (laid, and c7 vuill Avid 


ima live 


mi 


7 


dell 


acevnn 


Vi 




la. He tv ijeii ^vd the jiaij/ment 
e dame, m cade o fL. oi. Aj it tjet dAvuld 

den. 


aid u mafic bailment 


(Ajau vti 


edevj, 

na.eade mvti'jfi 


me vjy me 

amvunt j,vd lufnct'i ijVit maij/ ejive Atm eiedit, 
and t'jf default dAvuld Ac made in jiaij/ment, 
advtde me at cnee. 

c7 


am, 


deinant, 


ejentlemen, i^vud mvdt vledient 

J n m 


c7 


aid. 




LEGAL LETTERS. 


217 


< 2. Draw a letter of resignation. 

Phcenix, Ari., July 27, 1894. 

C. H. Pierce, 

President of School Board, 

Portland. Ore. 

To the Honorable Board of Education : 

Gentlemen : I hereby tender my resignation as Superin¬ 
tendent of the Public Schools of your city. 

With many kind wishes for past favors, I shall ever remain 
Your most obedient servant, 

J. W. Farr. 


3. Draw a letter of guaranty. 


Delaware, Ohio, June 29, 1894. 

S. A. Hahn, 

Olympia, Wash. 

Gentlemen : 

This will be handed you by H. C. Carver, who visits 
your city to purchase his fall and winter stock of dry goods. I 
hereby guarantee payment of any credit that he may ask. In 
the event of any default you will notify me at once. 

Respectfully, 

C. W. Rice. 


J. Draw a letter of advice . 

Detroit, Mich., June 15, 1894. 

W. H. Shalor, 

Reading, Penn. 

Dear Sir : 

Referring to our bill of account rendered the 1st inst., 
we beg to notify you that we have this day drawn on you at one 
day’s sight, to the order of Cashier of Union Bank, for six 
hundred dollars ($600). Please honor and oblige, 

Yours respectfully, 

H. C. Clark & Co., 

Per J. W. F. 


15 



218 


FARRIAN BUSINESS FORMS. 


5. Draw a letter of acknowledgment. 

Cincinnati, O., Dec. 1, 1894. 

H. W. Flickinger, 

Erie, Penn. 

Dear Sir : 

We are in receipt of yonr favor of the 1st of Jane, en¬ 
closing four hundred dollars ($400), in full of bill of Nov. 24th, 
for which we return thanks, and solicit renewed orders. 

Yours truly, 

J. Foeller & Co. 

Per J. W. F. 

6. Draw a letter of prices. 

New Orleans, La., June 30, 1894. 

J. A. Wesco, 

Wichita, Kans. 

Dear Sir : 

We quote you to-day prices on our new books, as follows: 


Complete Book-keeping $2.50 

Farrian Complete Penmanship. 2.00 

Commercial Arithmetic 2.00 

Business Grammar .75 


These prices will be reduced 50 % to dealers. The above 
are bottom prices. 

Shall be pleased to have you command us for any amount of 
credit that you may wish, and hope to receive an order soon. 

Very truly, 

W. H. Lyons, 

7. Draw a letter of remittance. 

Cedar Rapids, Iowa, Dec. 14, 1894. 

S. S. Packard, 

New York. 

Dear Sir : 

Enclosed we hand you draft on the Union Bank for four 
hundred dollars ($400) in settlement of the following : 


Invoice Sept. 1st $325 

Invoice Oct. 12th 100 

$425 

Discount 25 

Due as per enclosed draft $400 


Please receipt at once for same, 

And oblige, 

W. C. Bryant. 






RECEIPTS. 


219 


LESSON 158. 


RECEIPTS. 


1. Draw a receipt on account. 


m. \j ^ V5bl^_ 


SWaaaw^ ^rcyguo \^f. Sa/rr bWVvA/\Jjp 
(WvAx>yr!> ^^5-00) cyw owyu/Wo. 

S)U 


0. Draw a receipt in full. 

Bismarck, N. D., Feb. 12, 1894. 
Received from J. French, one hundred and seventy-five 
dollars ($175), in full of account to date. 

W. M. Solomon. 

3. Draw a'receipt in full of account. 

Bangor, Me. , March 25,1893. 
Received of W. E. Dennis, five hundred dollars ($500), 
in full for account rendered to first instant. 

A. N. Palmer. 


f Draw a receipt for payment of all demands. 

Sioux City, Iowa, April 15, 1894. 
Received of W. Rogers one hundred and twelve dollars 
($112), in full of all demands 

A. Johnson 

5. Draw a receipt in full for bill of goods. 

Austin, Tex., May 13,1893. 

Received from W. Shakespere ninety dollars ($90), in full 
for goods now sold and delivered to him. 


U. S. Grant. 




220 


FARRIAN BUSINESS FORMS. 


6. Draw a receipt for lading a wagon . 

Zanesville, O., June 18, 1894. 

Received from W. C. Spencer, in car No. 30, the following 1 
goods, marked, numbered and weighing as follows : 


No. 1.—A, 1 barrel weighing... 300 pounds. 

“ 2. B, 1 barrel . 250 u 

“ 3. C, 3 barrels “ 900 “ 

“ 4. D, 1 bale “ 500 u 

“ 5. E, 1 box “ 450 “ 

“ 6. F, 1 trunk “ 150 “ 

Total.. 2,550 pounds 


All in good order and condition, with which articles I 
promise to proceed without delay or unnecessary detention to 
Athens, Ohio, and to deliver them in the same good order and 
condition unto J. W. Farr, in the said Athens, or his order, on 
his paying the sum of twenty-five cents per hundred pounds 
for said goods. 

J. W. Frazier. 

7. Draw a receipt for pasturing stock. 

Sandusky, Ohio, April 30, 1894. 

Received from W. H. Payne, ten horses, five mules, and 
four cows, which I agree to pasture on good grass ; water and 
salt at regular intervals, and r^ f urn in good condition, on the 
first day of October next, casualties excepted, he paying me 
five dollars each for said stock. 

Witness my hand. 


J. W. Farr. 










NOTES. 


221 


LESSON 159. 

NOTES. 


1. Draw a joint note . 


■ek'a-kfS^ 


■&-'L i sz-^^z-^-2- 
^rL-tz-kcz-n.. ■&-'i- 


Jkk, ■VL-ez-^l^ 'L&-c~iS~4-'iJL-g~-ckj 

ZCiiy -ktz- 

* *t-kf2~'i~r2~<Lik J rzk kkzlz- '•Lt^ke^ -eyf^k' 
cz-k *^^n. 




8. Draw a negotiable note . 

$50.00. Hartford, Conn., Feb. 13, 1894. 

Ten months from date, I promise to pay to the order of D. 
L. Musselman, fifty dollars, for value received, negotiable and 
payable without defalcation or discount, and with interest from 
date, at the rate of 8 per cent, per annum ; and if interest be not 
paid annually, to become as principal, and bear the same rate 
of interest, without exemption from appraisement, valuation 
or homestead laws. 

John Miller. 

Attest: Green Clay. 


3. Draw a note not negotiable. 

$75.50. Cleveland, Ohio, Aug. 21, 1894. 

For value received, sixty days from date, I promise to pay 
to T. Jefferson, seventy-five dollars and fifty cents. 

A. Jackson. 





222 


FARRIAN BUSINESS FORMS. 


J. Draw a promissory note on demand. 

$500. Jersey City, N. J., Sept. 1st, 1893. 

For value received, thirty days from date I promise to pay 
B. Franklin, or order, five hundred dollars, with interest at the 
rate of 6 per cent, per annum. H. C. Spurgeon. 

5. Draw a promissory note on time. 

$300. Charleston, S. C., Nov. 23, 1894. 

Twelve months from date we promise to pay G. W. Conk¬ 
lin, or order, three hundred dollars. R. B. Hayes. 

J. A. Garfield, Surety. 

6. Draw a judgment note. 

$400. Utica, N. Y., Sept. 10, 1894. 

For value received, I promise to pay A. Johnston, or order, 
the sum of four hundred dollars, sixty days after date, and I 
hereby nominate, constitute and appoint the said A. Johnston, 
or any attorney-at-law of this state, my true and lawful attor¬ 
ney irrevocable, for me, and in my name, to appear in any court 
of record of this state, at any time after the above promissory 
note becomes due, and to waive all process and service thereof, 
and to confess judgment in favor of the holder hereof for the 
sum that may be due and owing hereon, with interest and cost, 
and waiving all errors. 

In witness whereof I have hereunto set my hand and seal at 
the city of Utica, State of New York, this 10th day of Sept., 
one thousand eight hundred and ninety-three. 

J. Q. Adams. 

Sealed and delivered in the presence of ) 

J. Monroe, J. Madison. j 

7. Draw a bank note . 

$600. Memphis, Tenn., Oct. 15, 1894. 

Ninety days from date I promise to pay Union Bank, W. 
H. Harrison, cashier, or order, six hundred dollars, value 
received, with interest at the rate of 8 per cent. Payable at 
Union Bank. J. K. Polk. 

Endorsed on back by j 

J. Tyler, Z. Taylor, j 



LEASE. 


223 


LESSON 160. 


LEASE. 

1. Draw a legal form of a lease , leasing a house. 

It is agreed this 20th day of 
Jan. 1893, between F. Pierce, of 
Jacksonville, and state of Florida, 
of the one part, and A. Lincoln, of 
Louisville, Kentucky, of the 
ether part, as follows: The said 
P. Pierce doth agree to let unto 
fc he said A. Lincoln, all that cer¬ 
tain lot of ground, with the house 
thereon, being and situate (describe 
premises), for one year from above 
date, and until the end of three 
months after notice shall be given 
by either of the said parties, to 
the other of them, for leasing 
the said premises at and for the 
yearly rent of four hundred dollars 
($400), payable quarterly on the 
first days of Apri1, July, Oct. and 
Jan., in equal proportions; when 
said yearly rent, payable quarterly 
as aforesaid, the said A. Lincoln, 
for himself, his executors and ad¬ 
ministrators, doth hereby covenant 
and agree to pay to the said F. 
Pierce, his executors, administra¬ 
tors and assigns, accordingly, for 
so long a time as he shall hold 
and enjoy the said premises as 
aforesaid, and until the end of 
the said three months next after 
notice shall have been given by 
either of the above parties to the 
other, for leasing the said prem¬ 
ises as aforesaid. 

Witness our hands and seals, the 

day and year first written. 
Signed, sealed and delivered 

in presence of 

2 ). 


5 : 




224 


FARRIAN BUSINESS FORMS. 


< 2. Draw lease of a farm for a term of years. 

This indenture, made the 25th day of March, in the year 
of our Lord 1893, between F. Buchanan, of Omaha, county of 
Douglas, and state of Neb., of the one part, and A. Burr, of 
the same place, of the other part: Witnesseth, that the said F. 
Buchanan, for and in consideration of the yearly rent and cov¬ 
enants hereinafter mentioned and reserved on the part and behalf 
of the said A. Burr, his heirs, executors and administrators, to 
be paid, kept and performed, hath demised, leased to farm and let, 
and by these presents doth demise, leased to farm and let unto the 
said A. Burr, his heirs and assigns, all that certain messuage or 
tenement, tract, piece or parcel of land situate in county of 

Douglas aforesaid, adjoining lands of-and now in 

the tenure and occupancy of B. F. Butler, containing eighty 
acres, be the same more or less, together with all and singular 
the buildings, improvements and other the premises hereby 
devised with the appurtenances. To have and to hold the same 
unto the said A. Burr, his heirs and assigns, from the 2d day of 
April next ensuing the date hereof, for and during the term of 
five years thence next ensuing and fully completed and ended; 
the said A. Burr yielding and paying for the same unto the 
said F. Buchanan, his heirs and assigns, the yearly rent or sum 
of one hundred dollars ($100), on the first day of Oct. on each 
and every year during the term aforesaid ; the first payment of 
which said yearly rent or sum of one hundred dollars is to be 
made on the 1st day of Oct., A. D. 1893. And at the expiration 
of the said term, he, the said Burr, his heirs and assigns, 
shall and will quietly and peaceably surrender and yield up 
the said demised premises, with the appurtenances, unto the 
said Buchanan, his heirs and assigns, in as good order and repair 
as the same now are, reasonable wear, tear and casualties which 
may happen by fire or otherwise excepted. 

In witness whereof the said parties have hereunto set their 
hands and seals the day and year aforesaid. 

F. Buchanan. 

A. Burr. 

Signed, sealed and delivered iu the presence of [ 

J. Montieth, J. W. Farr. j 




mechanic’s lien and affidavit. 


225 


LESSON 161. 


MECHANIC'S LIEN AND AFFIDAVIT. 

1. Draw a mechanic's lien . 

To Whom it May Conceen : 

Be it remembered, that under a certain contract heretofore 
made and entered into with me by N. Webster, of Louisville, 
Ken., the owner of the following described tract and piece of 
land situate in the county of Jelferson, in the state of Kentucky, 
to wit: (Description of land). I, the undersigned, did, on the 
12th day of February, A. D. 1900, and on divers days and con¬ 
tinuously from that date up to and including the 11th day of 
May, A. D. 1900, did contract to build a certain four room two 
story building for the sum of four hundred dollars, and that 
there is due me therefor from the said N. Webster, owner of 
said land, the sum of four hundred dollars ($400), for which I 
■claim a lien upon said land hereinbefore described, and the 
buildings and appurtenances; the items of which amount to 
$400, and on account of which said sum is due me and said lien 
is claimed by me, are, as nearly as practicable, set forth in the 
statement hereto appended as part hereof and marked F, and 
that said building was completed on the 11th day of May, A. D. 
1900, and less than four months next before the filing hereof. 

Sept. 1, A. D. 1900 Lorenzo Dow. 

<2. Draw a mechanics affidavit. 

State of Kentucky, Jefferson County, ss. 

Lorenzo Dow, being by me first duly sworn, deposes and 
says, that he is Lorenzo Dow, the person who subscribed the 
foregoing statement, and who is the lawful claimant therein ; 
and that the said statement is true. 

Lorenzo Dow. 

Subscribed and sworn to before me this 1st day of Sept., 

A. D. 1900. J. W. Farr, 

Notary Public. 


Term expires Sept. 10th, 1900. 





226 


FARRIAN BUSINESS FORMS. 


LESSON 162. 


DRAFTS. 


1. Draw a sight draft. 


poow. 

jj'Urve tfO, / S'CjU. 


1 (f/t. jj. 

°B S, 

^iJo utirAy, tdu<p Auridiyed vulue. 

i-eretAiecl, tv O/CcmiAvt 


J2. f)aiU. 


0. Draw a time draft . 

$400.00. Lowell, Mass., March 6, 1893. 

To J. Hooker, 

Troy, N. Y. 

Thirty days from date, pay to J. Clinton, or order, four 
hundred dollars, value received, and charge to account of 

H. Clay. 

3. Draw a bank draft. 

$300.00. Minneapolis, Minn., Feb. 10, 1894. 

To Cashier Union Bank, 

Erie, Penn. 

At ninety days’ sight, pay to the order of F. Key, three 
hundred dollars, value received, and charge to account of 

W. Kidd & Co. 




CERTIFICATES. 


22T 


LESSON 163. 

CERTIFICATES. 


1. Draw a certificate of deposit. 

Union Bank of Omaha. 

$600.00. Omaha, Neb., Jan. 30, 1893. 

This is to certify that J. H. Morgan has deposited in this- 
bank, six hundred dollars, payable to the order of himself on 
return of this certificate in current funds, with 6 per cent, 
interest per annum, if left six months. 

No interest after due. 

S. F. Morse. 


#. Draw a certificate of scholarship . 

PUBLIC SCHOOLS OF CHICAGO. 

CERTIFICATE OF SCHOLARSHIP. 


Be it known, that Mr. F. W. Blain has passed the required 
examination with credit in the public schools of Chicago, Ill. 
The following is his grade obtained on examination in the- 


branches taken : 


Orthography. 

Reading. 

Penmanship. 

Correspondence. 

Arithmetic. 

Business forms. 

Book-keeping. 

Grammar. 

Composition. 

In testimony 
30th day of June, 


80 Drawing. . 100 

85 Geography. 95 

90 Physiology. 85 

70 Drawing. 90 

95 History. 100 

85 Civil government. 100 

90 Algebra. 70 

100 Deportment. 75 

109 General average. 83 


whereof my signature is hereunto affixed, this- 
A. D. 1894. 

J. W. Farr, 

Principal. 






















:228 


FARRAIN BUSINESS FORMS. 


3, Draw a teacher's certificate. 


TEACHER’S CERTIFICATE. 


PUBLIC SCHOOLS OF KANSAS. 


It is hereby certified, that Mr. J. Otis, has passed a satisfac¬ 
tory examination, upon all points required by law, for a state 
certificate, and authority is hereby given him to teach in the 
public schools of Kansas, for the term of five years, from this 
Rate, unless this certificate is sooner revoked. 

The following are the branches taken upon examination: 


Orthography. 

Beading. 

Penmanship. 

Correspondence. 

Arithmetic. 

Business Forms. 

Book-keeping 

Geography. 

English Grammar. 
U. S. History. 

Civil Government. 


Physiology. 

Drawing. 

Physics. 

Algebra. 

Geometry. 

Physical Geography. 
General History. 
Etymology. 

School Management. 
History of Education. 
Latin. 


Done at Topeka, state of Kansas. 


In witness whereof my signature is hereunto affixed, this 
the 13th day of August, A. D. 1900. 


J. W. Farr, 

Chairman. 



ASSIGNMENTS. 


229- 


LESSON 164. 


ASSIGNMENTS. 


1. Draw an assignment of bond, assignor being liable. 


/ '0- 


zz-rzzf dz-f zxzz^-7 zzzzf^zz'.n- -C2 -'^T^zzzz-fz-t 

</^z-c^^'^'t7-d tfzz--&- zzyzfc 





&- yz , Zzzd ■&- az - e-zzzz 


fzzdd. zz- zfyyz z- rz zzdfdzzfo-'Ld- 


ZZ*Z 7 zzddztz-yzd. /L-e-dx 


zzzz <£ trzzzfzz &zyz 


7 


7 y 


'yyz&yzf f^&d&cgff z/sz zzzzd^ z/izfe&zz 


fz&.z-yzzd yzzzzzfzz 


-e- 'zzzzdyz yzzzyyz'e^ 


/ 

zz. . — ^yy. 


-^■ C '- dzz-d , 


zT-yz -e-dd 

^z-e- iCzddf 


/ 

Tzzz 


7 


ZZyZ 7 zzzz 7 dtzzzf dH/zZ-d 


Z77-Z. 





zzdd. 


zzzzf d^zz-f^zf zzzzzf zf&fc-'i 


z-yz 


7 z- d z yz zz -z c>- 


\ o l. WfaJi, tyiiMiam*. 




230 


FARRIAN BUSINESS FORMS. 


2. Draw an assignment of account , endorsed thereon. 

In consideration of one dollar, value received, I hereby sell 
and assign to P. H. Sheridan, the within account, which is justly 
due from the within named F. Sigel, and thereby authorize the 
said P. H. Sheridan to collect the same. 

K. Smith. 

3. Draw an insurance assignment. 

Having sold and conveyed the property described in this 
policy to H. C. Townsend, for value received, I hereby assign, 
transfer and set over unto said purchaser and owner in fee, all 
my title, right and interest in this policy of insurance, and all 
benefit and advantage to be derived therefrom. 

Witness my hand, this 13th day of August, 1894. 

J. M. Watson, Agent. 

Approved at Union Agency* this 31st day of August, 1894. 

J. W. Farr, Pres. 




ATTACHMENTS. 


231 


LESSON 165. 


ATTACHMENTS. 

I. Draw an attachment affidavit. 

J. Eaton, plaintiff, 
vs. 

W. H. Harrison, defendant. 

Before J. W. Greenwood, a Justice of Columbus County, Ohio. 

State of Ohio, ) 

Columbus County, j ss * 

J. Eaton, being duly sworn, says that he is the plaintiff in 
the above entitled action, and has commenced said action for the 
recovery of one hundred dollars ($100.00,) against W. H. Har¬ 
rison, the defendant in the above entitled cause, who is indebted 
to said plaintiff in said sum for one hundred dollars ($100.00.) 
That said claim is just, is due, and is wholly unpaid, the amount 
of which said affiant believes that said plaintiff ought to recover 
of said defendant; and that said defendant is about to remove 
his property out of the jurisdiction of the court with intent to 
defraud his creditors, or is about to convert his property into 
money for the purpose of placing beyond the reach of his 
-creditors, or is about to assign, remove, and dispose of his 
property, with intent to defraud, hinder and delay his creditors, 
or fraudulently contracted the debt and incurred the obligation 
for which the above named suit has been brought, to recover 
for injuries arising .from the commission of said value. This 
action is brought upon a contract for which the said defendant 
was bound to pay the sum of one hundred dollars ($100.00,) 
which contract is more fully set forth in the bill of this action, 
to which reference is hereby made ; and was duly delivered 
according to said contract, but said defendant failed upon said 
delivery to pay the said $100.00, and still fails to pay the same. 

J. Eaton 

Subscribed and sworn to before me, this 1st day of Sep¬ 
tember, A. D. 1900. 

J. M. Greenwood, 

J ustice. 




232 


FARRIAN BUSINESS FORMS. 


< 2. Draw an attachment order. 

J. Eaton, plaintiff, 

vs. 

W. H. Harrison, defendant. 

Before J. M. Greenwood, a Justice of Columbus County, Ohio. 

State of Ohio, [ 

Columbus County, j 

The State of Ohio to Z. Taylor, Sheriff of Columbus 
County : You are hereby commanded to attach and safely keep 
the goods, chattels, stocks, interests in stocks, rights, credits, 
moneys and effects of said defendant, (description), in your 
county, not exempt by law from being applied to the payment 
of one hundred dollars ($100,) the claim of said plaintiff, or so 
much thereof as will satisfy said claim, and twenty dollars, the 
probable costs of this action, and return this order on the 3rd 
day of September, A. D. 1900, at 12 o’clock, M. 

Witness my hand, at my office in said county, this the 1st day 
of September, A. D. 1900. 

J. M. Greenwood, 

Justice. 




BUSINESS PAPERS, 


233 


LESSON 166 . 

BUSINESS PAPERS. 

1. Draw an insurance policy, 

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k^\m^ wMa/vUv '%Q- S)\aaA xyw^ fyyv/ 

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^u^vWa/aa^ cyv vmMxto- \$vv -vw^ LA^a^vuL ^o^iaAa^ 

ovXy^ oaaaL \M\aA/V tat/oArt/d/ o^> d/VLwv^-ui' WcMam^ cxm/L vw>\> 
\A/MaMwu/., tay \mA} - 

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c^ wb\x/rav^-) 

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^\JO^OMAJj^ Cr^ ^AX/A/bO^y ^aAXJ}^ WdaM/ t<XAA/MX$/ ^UMAAXa* 

tay lyo M/o^uL ^ \A>iy awd/ ov\A>UyWi/ ^ vUx 

tyU/r'OWAAJ^. 

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^i/^iAxvrvjjj- 9 viM/^1aaA>- 

\£f_ 3- ^x/y 1 ^ Ox^imAa 


ib 






234 


FARRIAN BUSINESS FORMS. 


< 2. Draw the form of a mortgage. 

This indenture, made the first day of December, A. D. 
1900, between E. Stanton and wife, in the county of Shawnee, 
and State of Kansas, parties of the first part, and the Union 
Bank, of the second part: Witnesseth, that the said parties of 
the first part, in consideration of the sum of one hundred 
dollars to them duly paid, the receipt of which is. hereby 
acknowledged, have sold, and by these presents do grant, bar¬ 
gain, sell and convey to the said party of the second part, its 
successors or assigns, forever, all that tract or parcel of land 
situated in the county* of Shawnee, and State of Kansas, de¬ 
scribed as follows, to wit: (Here describe the property,) with 
the appurtenances, and all the estate, title and interest of the 
said first party therein. 

This grant is intended as a mortgage to secure the payment 
of the sum of one hundred dollars, according to the terms of 
one note of even date herewith, this day executed and delivered 
by the said parties of the first part to the said party of the 
second part, payable at the Union Bank of Topeka, Kansas, as 
follows, to wit: (Here describe note) and this conveyance shall 
be void if such payment shall be made as herein specified, but 
if default be made in such payment or any part thereof, or the 
taxes, or if the insurance is not kept up thereon, then this con¬ 
veyance shall become absolute, and the whole shall become due 
and payable at once without notice, at the option of the holder, 
with 8 per cent, interest per annum from the date hereof, and 
it shall be lawful for said party of the second part, its suc¬ 
cessors or assigns, at any time thereafter to sell the premises 
hereby granted, according to law, appraisement hereby waived, 
at the option of said second party or assigns, and out of the 
moneys arising from such sale to retain the amount then due for 
principal and interest, and costs of foreclosure; and the over¬ 
plus, if any, shall be paid to the said first party. 

In witness whereof, the said parties of the first part have 
hereunto set their hands, the day and year first above written. 

E. Stanton, 

M. Stanton. 



MESSAGE, PETITION, ETC. 


235 


LESSON 167. 

FORM OF MESSAGE, PETITION, ETC. 


1. Draw form of telegraph message. 





236 


FARRIAN BUSINESS FORMS. 


2. Draw a 'petition . 


Toledo, Ohio, Aug. 12, 1894. 


To the Members of the Honorable Board of Education, 
in Session : 

Gentlemen : May it please your honorable body : The 
undersigned citizens humbly petition that you (Here state what 
is wanted), and your petitioners, as in duty bound, will ever 
remain your obedient servants. 


(Signatures.) 


(Signatures.) 


3. Draw general form of power of attorney. 

Know all men by these presents, that L. Mark, of Jackson 
County, in the State of Missouri, have made, constituted and 
appointed, and by these presents do make, constitute and ap¬ 
point M. Mathew, of Kansas City, in the State of Missouri, his 
true and lawful attorney in fact for him, and in his name, place 
and stead, and to sign and use his name in the transaction of all 
business herein set forth, to wit: (Description,) giving unto 
the said attorney full power to do everything whatsoever 
requisite and necessary to be done in the premises, as fully as I 
could if personally present. With full power of substitution 
and revocation, hereby ratifying and confirming all that the 
said attorney shall lawfully do, or cause to be done, by virtue 
hereof. 

In witness whereof, I have hereunto set my hand, this 4th 
day of January, 1900. 


L. Mark, 

M. Mathew. 


Executed in prt 
S. T. John, 




NOTICE, PROTEST AND WILL. 


237 


LESSON 168. 


NOTICE, PROTEST AND WILL. 


1. Draw a legal form of notice of protest. 


(%■ (QnwAu C Bon&, 


sma 


m. 


■mon 


^APleaAe tale notwe, tAuat a note jlol 
jlsssl Aundied eloAAai^ ^ fUOO , elated QdAeA. 
t, dl'amn Ay oAL, Q AinoAd, 

<3adel, ojl ^iPeiu, o/teA., en jawi o'jl 
AoanA, endoided Ay (QjWiaAa ASanA, Aaveny 
Aeeav jnoteded tlid' day, Ay me, jloi non=jaay= 
merit, aj/teAs AoaV'iny made leyal elemand jleA, tA 
dame, do AveieAiy, at tAe leyuerit ed 
AS anil, tAe AoAelei tAeleojl, notej/y you tAat tA 
AooAd to you jloi jiseyment, enteiedt, emd codtd'. 

(djoui oAedeent dslioant, 

'. y. tyfy. ju 

flated Qd. (t, 48'^(0. ritdaiy C Pidiu>. 


s 

aeon 

ri 




FA BRIAN BUSINESS 1 Cl IMS. 


#. Write a legal public sale notice. 

County of Douglas, ) 

State of Nebraska, j ss# 

In the Circuit Court of Douglas County. 

L. F. Dan, plaintiff, 

vs. 

J. E. Dunn, defendant. 

Public notice is hereby given, that, under, and by virtue of 
a judgment duly rendered in the above named case, in and by 
the above entitled court, and of an order of sale issued on said 
judgment, to me directed and delivered, therefore, I will, 

On Saturday, February 4th, A. D. 1900, 

At the hour of one o’clock, P. M. of said day, at the east front 
door of the Court House, in the City of Omaha, County of 
Douglas, State of Nebraska, offer at public sale, and sell to the 
highest bidder, cash in hand, the following described real estate 
or property, viz : (Here describe and locate the property 
to be sold.) 

Dated January 1st, A. D. 1900. 

W. S. Orb, 

Sheriff of Douglas County. 

J. W. Farr, 

Attorney for Plaintiff. 


3. Draw a legal form of protest. 


United States of America, 
State of Nebraska, Douglas County, 


ss. 


By this instrument of protest, be it known : 

That on the 12th day of October, A. D. 1896, at the request 
of the holder, Union Bank, I, the undersigned, a notary public, 
duly commissioned and sworn, did present the original note, of 
which the following is a true and complete copy, (here copy the 
note in full,) and demanded payment thereon, which was refused. 




NOTICE, PROTEST AND WILL. 


239 


Whereupon I, the said notary, at the request aforesaid, did 
protest, and by these presents, do publicly protest against the 
drawer, acceptors and indorsers, of said note, as against all 
others whom it may concern, all costs, damages and interest 
already incurred, and to be hereafter incurred for want of 
payment of same. 

And on the same day I served due notice of the protest 
aforesaid, upon the said persons, by depositing such notice in 
the postoffice, in a sealed envelope, postage prepaid, and ad¬ 
dressed to said persons, to wit: (Here give name and address 
of the drawers, acceptors and indorsers.) 

In testimony whereof, I hereunto set my hand and affix my 
Notarial seal, the day and year last above written. 

J. W. Farr, 

Notary Public. 

My term expires March 1, 1897. 


Jj,. Draw the legal form of a will. 

I, W. T. Sherman, of Cincinnati, State of Ohio, being of 
sound mind and memory, and considering the uncertainty of 
life, do therefore make, declare and publish this to be my last 
will and testament, as follows : 

(1) After all my legal debts and expenses are paid, and 
lawfully discharged, I give and bequeath unto (state who,) the 
farm house, and all land connected therewith, which we now 
occupy as a residence ; and all furniture, ornaments, connected 
therewith, including the library; and one thousand dollars now 
in the Union Bank. 

(2) I give to (state who,) two thousand dollars cash, for his 
own use, and for his heirs, at his discretion, free from the con¬ 
trol of any one. 

(3) I give to (state who,) all my real estate, in the city of 
Columbus, State of Ohio, including two houses and lots, and all 
the outbuildings belonging to the same. 

(4) The remainder of my estate, real and personal, I be¬ 
queath to (state who). 

(5) I hereby appoint (state who,) to be executor of this, my 
last will and testament, and hereby revoke all former wills. 



240 


FARRIAN BUSINESS FORMS. 


(6) In witness whereof, I subscribe my signature, and affix 
my seal, the first day of March, A. D. 1900. 

W. T. Sherman. 

(7) This indenture was duly signed, by the said W. T. 
Sherman, in each of our presence, and declared the above inden¬ 
ture to be last will and testament; and at his request sign our 
signature as witnesses, in the presence of the testator, and in 
the presence of each other. 

H. Greeley, New York. J. A. Logan, Chicago, Ill. 

C. A. Arthur, Cincinnati. J. W. Farr, Omaha, Neb. 





BOOK-KEEPING. 


241 


BLACK-BOARD ANALYSIS. 


BOOK-KEEPING. 


1 . 

Terms. 

8 . 

Day Book. 

2. 

Accounts. 

9. 

Cash Book. 

3. 

General Rules. 

10. 

J ournal. 

4. 

Rules for closing accounts. 

11. 

Ledger. 

5. 

Definitions. 

12. 

Trial Balance. 

6. 

Abbreviations. 

13. 

Summary. 

7. 

Review. 

14. 

Finis Journal. 





242 


FARKIAN BOOK-KEEPING. 


LESSON 169. 


PART IV. 


BOOK-KEEPING. 

1. Define book-keeping, business transaction and value. 

Book-keeping is the science of accounts, and the art of. 
recording business transactions in such a manner as to show the 
true results of a “ business” at anytime, with accuracy and ease. 

A business transaction consists in the exchange of value. 

Value is the ratio existing between different commodities, 
with reference to exchange. 

< 2. What is the object of book-keeping f 

The object of keeping a set of books is to enable the pro¬ 
prietor to ascertain, with certainty and ease, any fact o*r partic¬ 
ular regarding the business. 

3. How many systems of book-keeping in general use f 

There are two, viz.: single entry book-keeping and double 
entry book-keeping. 

j. What is the chief difference in single entry and double 
entry book-keeping f 

In single entry book-keeping, only personal accounts are 
kept in the ledger. ^ 

In double entry book-keeping, accounts are kept in the 
ledger with persons and things. 

5. Name the books employed in keeping a set of books. 

Different books are kept, according to the nature and ex¬ 
tent of the business. The best system of book keeping in use 
among business men, requires the keeping of four books, viz.: 
day book, cash book, journal and ledger. 

6. For what is the day book used f 

The day book is a book in which the original entry is made 
of a business transaction. The day book is the final book 
referred to in law, as the best evidence and facts in relation to a 
business transaction. It should contain all the facts in relation 
to each business transaction in detail. 





BOOK-KEEPING. 


243 


Some business men use what is called a blotter, in which 
they record with lead pencil each business transaction of the 
day at the time of the transaction, and then have th$ book¬ 
keeper, each evening, transcribe this record from the blotter, to 
the day book as a permanent record, from which the cash book, 
journal and ledger are made, and for future reference. 

7. For what is the cash booh used f 

The cash book is used to keep a record of all sums of cash 
received by us or paid to others. The difference between the 
sum of cash receipts and the sum of cash payments, at any time, 
shows the amount of cash on hand. 

8. For what is the journal used f 

The journal is used to keep a record of all debits and 
credits to persons, arising from dealings with said persons. The 
debits and credits must be accompanied by a clear and complete 
explanation of the transactions giving rise to such entries, so 
that any one may understand all the facts pertaining to the 
business. 

9. lor what is the ledger used f 

The ledger is used to keep a record of the debits and credits 
of the journal. It is a collection of personal accounts, and is 
called the business man’s account book. The entries of the day 
book are posted in the ledger, to the personal account of the 
person it concerns, in order to show the full amount of indebt¬ 
edness due us, which he may have incurred, or discharged; also, 
the amount of indebtedness due him, which may have been 
incurred or discharged by us. 

10. Define the term debit. 

It denotes that the person’s name with whom it is associated 
has become indebted to us, or that we have gotten out of his 
debt. 

11. Define the term credit , 

It denotes that we have become indebted to the person with 
whose name it is associated, or else that person has gotten out 
of our debt. 

12. Define the term investment , as used in book-keeping f 

Investment is the capital put into a business ; as cash 
property, etc. 



244 


FARRIAN BOOK-KEEPING. 


13. Define the term resource. 

Resource is any kind of property belonging to a business, 
or anything of value due us, from other persons. 

Ilf. Define the term liability. 

Liability is a debt of any description which we owe to 
another. 

15. For what is the summary book used f 

It is used to make a condensed analytical statement of the 
proprietor’s resources, liabilities, losses and gains, when the 
books are closed. 


LESSON 170. 


GENERAL TERMS. 

1. Define the term present worth. 

Present worth is the net value of interest in a business at 
any stated time. 

< 2. Define the term cash. 

Cash, as applied in book-keeping, includes the terms specie, 
money, bank draft, sight drafts, postal notes, bank bills, money 
orders, government bills, and all other paper, which is payable 
in cash on demand. 

3. Define the term net gain. 

It is the excess of the present worth over the investment. 

If. Define the term net loss. 

It is the excess of the investment over the present worth. 

5. Define the term bills receivable. 

It includes all negotiable written promises of other persons, 
payable at some future date, which come into our possession ; 
as notes, etc. 

6. Define the term bills payable. 

It includes all negotiable written promises issued by us to 
other persons, and payable at some future date ; as notes, etc. 

7. Define the terms balance and trial balances. 

In book-keeping, each account has two sides, viz.: Debit, 
and credit. The left hand side is called the debtor column, and 







GENERAL TERMS. 


245 


is abbreviated Dr. for convenience. The right hand side is 
called the credit column, and is abbreviated Cr. for convenience. 
An entry in the left side, or Dr. column, is called a debit, and 
an entry in the right side, or Cr. column, is called a credit. 
The difference between the sum of all the debits and the sum of 
all the credits, is called the balance. A trial balance is a test 
employed to see if the sum of the debits is equal to the sum of 
the credits. 

8. Define the term bill book. 

It is a blank book used in extensive business houses to 
record the amounts, dates, etc., of promissory notes and drafts 
that are to be paid to us by other persons, or by us to other per¬ 
sons, with the date of each, the time for which they are drawn, 
the date of maturity, the name of the drawer and endorser. 

9. Define the term invoice book. 

It is a blank book usually employed in a large wholesale 
business, to record all purchases of goods, with the quantity and 
price of each article. 

10. Define the term sales book. 

A sales book is designed to keep a complete list of the sales 
of merchandise, including the quantity, price per article, and 
amount. Small retail cash sales are not entered in the bill book, 
as it is only designed to give the particulars regarding sales. It 
is not used, except in a very extensive business. 

11. What are the vital elements of book-keeping. 

The conventional terms debit and credit. 

1%. What does the term debit denote f 

It is used to denote value received. 

13. What does the term credit denote f 

It is used to denote value parted with. 

H. Define the term inventory , and the different kinds. 

There are two kinds of inventories, viz.: A resource in¬ 
ventory and a liability inventory. A resource inventory is 
unsold property, as merchandise, furniture, bank stock, etc., 
which are on hand when the books are closed. A liability in¬ 
ventory, is unpaid interest and discount. That is, interest due, 
or discount allowed to others, when the set of books were opened. 
In closing books, it should be placed on the debit side of the 
account, as an inventory placed on the credit side of an account 



246 


FARRIAN BOOK-KEEPING. 


exhibits a loss or gain. The difference between cost and pro¬ 
duction is loss or gain. If the debit side of an account is greater 
than the credit side, a loss has been sustained, or if the reverse, 
a gain. 

15. Describe the office of the finis journal. 

It is used to journalize “ balance” of the closing entries of 
business transactions, which may then be posted to the ledger 
for future reference. This enables the book-keeper to trace 
any error which may have escaped his attention. That is, by 
preserving a complete record in the finis journal, of the entries 
made in closing the books. 


LESSON 171. 


ACCOUNTS. 

1. Define the term account. 

An account is a collection of all the items, debits and 
credits, relating to any one title, and arranged in such a manner 
as to show a definite result. 

The result is shown by using two columns, viz.: the debit 
and credit columns, called the two sides of an account which 
are opposite terms, as they relate to business, and if equal in 
amount, they cancel, or the account balances like a set of scales, 
that is, both the debit and credit, column represent an equal 
number of dollars and cents. 

2. How many hinds of accounts a/re there in double entry 
booJc-heeping f Name them. 

There are three, viz.: accounts with persons, accounts with 
property, and accounts with allowances, each of which is 
divided into two general classes. The first class shows the 
losses and gains, and the second class the resources and lia¬ 
bilities. 

3. When does an account exhibit a resource f A liability ? 
A lops ? A gain f 

An account exhibits a resource, if it shows property on 
hand, or an amount owing to us. 






ACCOUNTS. 


247 


An account exhibits a liability if it shows an amount owing 
by us. 

An account exhibits a loss if the property which it repre¬ 
sents has cost us more than it produced. 

An account exhibits a gain if the property which it repre¬ 
sents has produced us more than it cost. 

If ,. Where will the excess appear in an account showing a 
resource or a loss f A liability or a gain f 

In an account showing a resource or a loss the excess must 
always be on the debit side. 

In accounts: If it shows a liability, or a gain, the excess 
must always be on the credit side. 

5. What does the debit and credit column show respect¬ 
ively f 

The debit column shows either a resource or a loss. 

The credit column shows either a liability or a gain. 

6. How many forms are there in which a journal entry 
may appear, f Name them. 

There are four, viz.: 1. One debit and one credit. 2. 
Two or more debits and one credit. 3. One debit and two or 
more credits. 4. Two or more debits and two or more credits. 

1. In (1), the debit must equal the credit. 

2. In (2), the sum of all the debits must equal the credit. 

3. In (3), the debit must equal the sum of all the credits. 

4. In (4), the sum of all the debits must equal the sum of 

all the credits. 

5. The debit or credit of each account depends upon the 
nature of the business transaction. 

7. What is the principle upon which double entry book¬ 
keeping is based and from which it takes its name f 

In double entry book-keeping an equal amount is posted 
from every journal entry to both sides of the ledger ; thus, 
keeping it always in balance. Every transaction pertaining to 
our business requires a debit entry and a credit entry in some 
account in the ledger. That is, it must be entered twice or, 
doubly. Hence the term double entry book-keeping. 

8. Define the terms proprietor and stock. 

A person investing capital in the prosecution of a busi¬ 
ness is called the proprietor. The person engaging in business 
usually opens an account under his own name. 



248 


FARRIAN BOOK-KEEPING. 


The term stock includes all a person is dealing in as a 
business. The title, stock, may be used instead of the proprie¬ 
tor’s name. 

9. Define the term journalizing. 

Journalizing is the art of deciding upon the debits and 
credits of the transactions in the day book, in regular order, 
transferring and arranging them in the journal in convenient, 
form for transferring to the ledger. 

10. Define the term posting. 

Posting is the art of collecting all the debits and credits, 
having the same title under one heading and transferring them 
to the ledger as final results of the business. 

11. Define the term shipment. 

A shipment is a certain quantity or lot of goods shipped to 
an agent, who receives a certain per cent, on the sales for his 
services. 

The party who ships the goods is the consignor, and the 
party to whom the goods are shipped is the consignee. As soon 
as the goods are shipped the consignor opens an account under 
the title of u Shipment,” which shows that the goods have 
passed out of your possession, but not out of your ownership. 
When the goods are sold, the consignee renders an account 
sales, which contains a statement of all sales and charges, to the 
consignor. 

The net proceeds is the difference between the sales and the 
charges. 

If a statement of the business should be made before re¬ 
ceiving the account sales, it would be called a resource inventory. 

12. What will a shipment account show when the net 
proceeds are credited f 

It will show a gain or a loss. 

13. Define the term assignment. 

A consignment is goods received from another to be sold 
on commission. When the consignee receives the goods, he 
opens an account under the title of “Consignment,” which shows 
that the goods are in your possession, for sale, but not your own. 

Ilf. What does an unclosed consignment represent f 

If the charges exceed the sales, the excess is a resource. If 
the sales exceed the charges, the excess is a liability. If we 



ACCOUNTS. 


249 


debit the consignment for the charges and the net proceeds, 
after making the closing entry, it will then balance. 

15. State how errors may occur in the ledger. Give direc¬ 
tions for correcting errors. 

(1) Part of a journal entry may be omitted in posting; or 
an item may be entered on the wrong side of the ledger account. 

(2) An entire journal entry may be omitted in posting; or 
an item may be entered under the wrong ledger account. Direc¬ 
tions : Carefully go over the journal entries and check off each 
corresponding entry in the ledger. Then, take a trial balance. 
When the error is found, make the proper entry in the ledger. 
If an item is debited under merchandise , which should have been 
debited under cash , the error may be corrected by changing the 
entry under cash account to : By Merchandise. And under 
merchandise account to: To Cash. This entry will transfer 
the amount to the proper account. 


LESSON 172. 


GENERAL RULES. 


I. GENERAL RULE. 

1. Debit all which costs value. 

%. Credit all which produces value. 

II. CASH RULE. 

1. Debit cash : as specie , sight drafts , postal orders , bank 
bills , etc ., if it is received. 

Credit cash : as specie , sight drafts , postal orders , bank 
bills , etc.) if it is paid out. 

III. PROPRIETOR RULE. 

1. Dehit the proprietor for all liabilities assumed by the 
business; for the net loss and for each amount drawn from the 
business for private use. 


17 






250 


FARRIAN BOOK-KEEPING. 


2. Credit the proprietor for investment on entering busi¬ 
ness ; for the net gain , and for each subsequent investment in 
the business. 

TV. PERSONAL RULE. 

1. Debit a person , if he gets into our debt ; or if we get 
out of his debt. 

2. Credit a person , if we get into his debt ; or if he gets 
out of our debt. 

V. PROPERTY RULE. 

1. Debit property : as cash , merchandise , real estate , etc ., 
if it comes into our possession. 

2. Credit property: as cash , merchandise , real estate , etc ., 
if it goes out of our possession. 

VI. ALLOWANCE RULE. 

1. Debit allowances: as interest , discount , commission , 
exchange , etc ., if made by us. 

%. Credit allowances : as interest , discount , commission , 
exchange , etc ., if made to us. 

YIP DRAFT ACCOUNT RULE. 

1. Debit a person / if he draws a draft on you. 

'2. Credit a person; if you draw a draft on him. 

VIII. PERSONAL ACCOUNT RULE. 

1. a person's account , if he gets into our debt; or , 
if we get out of his debt. 

2. Credit a person's account , if he gets out of our debt; 
or , if we get into his debt. 

IX. MERCHANDISE RULE. 

1. ZtefoY merchandise for the cost of merchandise bought. 

2. Credit merchandise for the proceeds of merchandise sold. 



GENERAL RULES. 


251 


X. BILLS RECEIVABLE RULE. 

1. Debit bills receivable: as notes, time drafts, etc., if 
received. 

2. Credit bills receivable: as notes, time drafts, etc., if 
disposed of. 

XI. BILLS PAYABLE RULE. 

1. Debit bills payable : as notes, accepted time drafts, etc., 
if redeemed. 

2. Credit bills payable: as notes, accepted time drafts, 
etc., if issued to others. 

XII. EXPENSE RULE. 

1. Debit expense : as rent , salaries, office books, fuel, etc.; 
for any outlay in carrying on the business. 

2. Credit expense: as rent, salaries, office books, fuel, etc. / 
for any returns, before, debited to expense. 

XIII. IN TEREST AND DISCOUNT RULE. 

1. Debit interest and discount if allowed to others. 

2. Credit interest and discount if allowed to us. 

XIV. SHIPMENT RULE. 

1. Debit a shipment, when shipped, for its value and all 
expenses. 

2. Cred/it a shipment, when account sales is received, for 
the net proceeds. 

XV. CONSIGNMENT RULE. 

1. Debit a consignment for all charges paid when the 
goods are received : for the net proceeds and all charges. 

2. Credit a consignment for all amounts from the sale of 
the goods. 



252 


FARRIAN BOOK-KEEPING. 


LESSON 178. 

RULES FOR CLOSING ACCOUNTS. 

1. How often should the proprietor’s account be closed? 

The proprietor’s account should be closed, at least once a 
year, in the ledger, in order to show his present worth. But to 
do this, close only the accounts which show losses and gains. 
The net loss or net gain found by closing these accounts, must be 
entered in the proprietor’s account, which will show his true 
present worth. 

Accounts showing resources and liabilities, need not be 
closed at this time, as they show only of what the present worth 
consists. However, any account may be closed at any time 
separately from the general closing of the ledger. All accounts 
may be closed at any time, to mark a period in the business, or 
to cause each account to show a single amount, with its exact 
debit or credit, for the purpose of inspection. Personal ac¬ 
counts are generally allowed to remain open, until regularly 
closed by payment in the course of business. 

2. Give the order by which accounts should be closed in 
the ledger. What accounts are closed into balance account ? 
Into loss and gain account f 

It is best to close the accounts in the regular order in which 
they stand in the journal, except the proprietor’s account should 
be omitted until all the other accounts have been closed. 

Merchandise, inventory, cash, bills receivable, bills payable 
and personal accounts are closed into balance account. 

Merchandise, expense, interest and discount, and commis¬ 
sion are closed into loss and gain account . Then, loss and gain 
account is closed into stock account , and stock account is closed 
into balance. In posting, be careful to check the journal, in 
regular order, after each entry. 

3. Give the rule for closing loss and gain account. 

Enter, in red ink, on the least side of loss and gain account, 

the name of the proprietor, and the difference of the debit and 
credit sides, which will be the net gain, or net loss. Rule, 
foot the account, and write, in black ink, the difference on the 
opposite side of the proprietor’s account, using for explanation 
the title loss and gain. If it is a partnership business, the loss 
or gain should be divided according to the articles of agree- 




RULES FOR CLOSING ACCOUNTS. 


253 


ment. Then each partner’s name and share, should be entered 
separately in his loss and gain account, and transferred to the 
opposite side of his personal account. 

f > Give rule for closing accounts having resources and 
liabilities . 

Enter, in red ink, on the least side of the account, “ Balance f 
with the dilference of the debit and credit sides. Rule, foot 
the account, and write the difference, in black ink, on the oppo¬ 
site side below the ruling, using balance for title. 

5. Give the rule for closing accounts having losses and 
gains , and no inventories. 

Enter, in red ink, on the least side of the account, “Balance ,” 
and the difference of the debit and credit side. Rule the ac¬ 
count, enter the totals, transfer, in black ink, the loss and gain 
amount to the other side of loss and gain account, using cash, 
merchandise, etc., for title. 

6. Give rule for closing accounts having losses and gains 
and inventories. 

Enter the amount, in red ink, on the credit side of the 
account, if it is a resource inventory, using inventory for title. 
Enter the amount, in red ink, on the debit side of the account, 
if it is a liability inventory, using inventory, as before, for title. 
Then enter, in red ink, on the least side of the account, the 
difference of the debit and credit sides of the account, using loss 
and gain for title. Now rule the account, and enter, in black 
ink, the totals on the other side of the account, bringing the 
inventory below the ruled lines, after which transfer, in black 
ink, the loss and gain amount to the other side of the loss and 
gain account, using merchandise, etc., for title. 

7. Give rule for closing the proprietor's account. 

Enter, in red ink, on the least side, the title, present worth , 
and the difference of the debit and credit sides of his account. 
Rule, foot the account and carry the difference to the credit side 
of the account, below the ruled lines, in black ink, using present 
worth for title. If the debit side of his account is larger, the 
difference shonld be entered insolvency for title of the account, 
instead of present worth. 

All horizontal rulings should be done with a steel rule and 
red ink, being careful at all times to avoid all blots and erasures 
throughout the entire set of books. 



254 


FARRIAN BOOK-KEEPING. 


LESSON 174. 


DEFINITIONS. 

Account—A systematic record of debits and credits. 

Account Sales—A detailed statement made by the party who 
has sold goods for another. 

Accept—T o write one’s signature across the face of a debt, or bill. 
Autograph—A man’s name in his own handwriting. 
Acceptance—A n accepted draft. 

Accommodation Paper—A note given without consideration. 

Ad Valorem— According to value. 

Advice -Any information by letter. 

Agent—A ny one authorized to do business for another. 
Arbitration—A settlement of any matter in dispute by referring 
it to disinterested parties. 

Assets— Kesources : Property of any kind. 

Assignee— A person who takes charge of the affairs of an insol¬ 
vent debtor. 

Assignment—P lacing one’s property in the hands of an assignee. 
Assignor—A person who makes an assignment. 

Balance Sheet—A condensed statement of the condition of 
one’s business. 

Bankrupt—O ne who is unable to pay his debts. 

Bill of Exchange—G eneral name given drafts. 

Book Debt—A n open account on the ledger. 

Capital-M oney, or other property, invested in business. 
Commission—A charge for transacting another’s business. 
Consignee—O ne to whom goods are sent. 

Consignor—O ne who sends goods to another. 

Creditor—O ne having a money claim against another. 

Days of Grace—T hree extra days. 

Debtor— One who owes another. 

Due Bill— A written acknowledgment of a debt. 

Finis—T he end or last. 

Good Will—T he probability that customers will continue lo 
patronize a business. 

Guaranty—A n assurance in writing. 

Indemnification—S ecurity against loss. 

Indorse—T o guarantee payment. 

Indorser-O ne who writes his name on the back of a note. 
Insolvency—B an kruptcy. 

Insolvent—I nability to pay debts. 

Invoice— An itemized bill of goods. 

Invoice Book—T he book in which invoices are copied. 

Liability —What one owes. 

Maturity—T he time at which a note becomes due. 




DEFINITIONS. 


255 


Negotiable—T ransferable. 

Net Proceeds—T he returns on sale of goods after deducting 
expenses. 

Oka.—A ll right. 

Order Book—T he book in which orders received are entered. 

Promissory Note—A written promise to pay another a specified 
sum of money. 

Protest—A notice to an indorser, that a draft or note was not 
paid at maturity. 

Sight Draft—A draft payable on presentation. 

Sleeping Partner—O ne who has an interest in a business, but 
whose name does not appear. 

Stock—A title used to represent the proprietor of a business. 

Stock on Hand—U nsold merchandise. 

Suspend—T o stop payment. 

Suspense Account—A n account in which the balances regarded 
as doubtful, are collected. 

Usury—M ore than legal interest. 


LESSON 175. 

ABBREVIATIONS. 


(a) To, or at. 

A. First class. 

Acc’t. Account. 

Amt. Amount. 

Apr. April. 

Auto. Autograph. 

Aug. August. 

Ala. Alabama. 

Alas. Alaska. 

Ari. Arizona. 

Ark. Arkansas. 

Bal. Balance. 

B. Billed. 

B. B. Bill Book. 

Bbl. Barrel. 

Bk. Book or bank. 

Bills Rec. Bills receivable. 
Bills Pay. Bills payable. 

B. L. Bill of lading. 

Bot. Bought. 

Bu. Bushel. 

Bx. Box. 

C. Cents. 

C. B. Cash book. 


Co. Company. 

C. O. D. Cash on delivery. 

Col. Collect, college or column. 
Cr. Credit. 

Cal. California. 

Carr. Carried. 

Colo. Colorado. 

Conn. Connecticut. 

Con. Consignment. 

Das. Days. 

Dec. December. 

Dep. Deposited. 

Del. Delaware. 

Dft. Defendant. 

Disct. Discount. 

Do. The same. 

$ Dollar. 

Dr. Debtor; doctor. 

D. B. Day book. 

D. C. District of Columbia. 

Ea. Each. 

Etc. And others. 

Ex. Example. 

Exch. Exchange. 





256 


FARRIAN BOOK-KEEPING. 


Fri. Friday. 

Feb. February. 

F. O. B. Free on board. 
Fr’t. Freight. 

Fla. Florida. 

For’d. Forward. 

Gal. Gallon. 

Ga. Georgia. 

Hd. Hogshead. 

Hun. Hundred. 

I. B. Invoice book. 

lns. Insurance. 

Inst. Present month. 

lnt. Interest. 

Inv. Invoice. 

Inv't. Inventory. 

Ida. Idaho. 

III. Illinois. 

Inda. Indiana. 

Ind. Indian. 

Ia. Iowa. 

Jan. January. 

J. P. Journal page. 

J un. June. 

Jul. July. 

Kan. Kansas. 

Ken. Kentucky. 

La. Louisiana. 

Lb. A pound. 

Led. Ledger. 

L. F. Ledger folio. 
Mar. March. 

Mdse. Merchandise. 
Mo. Month. 

Mon. Monday. 

Me. Maine. 

Md. Maryland. 

Mass. Massachusetts. 
May. May. 

Mich. Michigan. 

Minn. Minnesota. 

Miss. Mississippi. 
Mont. Montana. 

No. Number. 

Nov. November. 

N. D. North Dakota. 
Neb. Nebraska. 

Nt?v, Nevada 

N. H. New Hampshire. 


N. J. New Jersey. 

N. M. New Mexico. 

N. Y. New York. 

N. C. North Carolina. 

O. B. Order book. 

Oct. October. 

O. Ohio. 

O. K. All correct. 

Ore. Oregon. 

Oz. Ounce. 

Payt . Payment. 

Pd. Paid. 

P. Page. 

% Per cent. 

Per Cent. By the hundred. 
Peg. Package. 

Per. By. 

Pcs. Pieces. 

Phila. Philadelphia. 

Penn. Pennsylvania. 

Recd Received. 

R. R. Railroad. 

R. I. Rhode Island. 

Sun. Sunday. 

Sat. Saturday. 

S. B. Sales book. 

Sep. September. 

Sunds. Sundries. 

S. 0. South Carolina. 

S. D. South Dakota. 

Tues. Tuesday 
Thurs. Thursday. 

Tenn. Tennessee. 

Tex. Texas. 

Ult. Last month. 

Utah. Utah. 

Yiz. Namely. 

Vt. Vermont. 

Ya. Virginia. 

Wed. Wednesday. 

Wt. Weight. 

Wash. Washington. 

W. Va. West Virginia. 

Wis. Wisconsin. 

Wyo. Wyoming. 

Yd. Yard. 

Yr. Year. 

Z The last. 

& And. 



REVIEW. 


257 


LESSON 176. 


REVIEW. 

1. Deline book-keeping and its object. How many systems are 
there ? Define single entry book-keeping. Double entry. Explain the 
chief difference in the two systems. Name the principal books em¬ 
ployed in this system of book-keeping. Explain the use of the day 
book. Cash book. Journal. Ledger. Define the term debit. Credit. 
Investment. Resource. Liability. Eor what is the summary book used? 

2. Define the term present worth. Cash. Net gain. Net loss. 
Bills receivable. Bills payable. Balance. Trial balance. Bill book. 
Invoice book. Sales book. For what are the terms debit and credit 
used ? How many kinds of inventories are there ? Define resource. 
Inventory. Liability inventory. Finis journal. 

3. Define account. How are results shown? How many kinds- 
of accounts in double entry? Name them. When does an account 
exhibit a resource ? A liability ? A loss ? A gain ? Where will the 
excess appear in an account showinga resource or a loss ? A liability 
or a gain ? What does the debit and credit column show respectively ? 
How many forms are there in which a journal entry may appear? 
Name them. Give the principal upon which double §ntry book-keep¬ 
ing is based. Define the term proprietor. Stock. Journalizing. 
Posting. Shipment. What does shipment account show after the net 
proceeds have been credited? Define consignment. What does an 
unclosed consignment show ? State how errors may occur in posting. 
Give directions for correcting errors in the ledger. 

4. Recite the general rule for debits and credits. Cash rule. 
Proprietor rule. Personal rule. Property rule. Allowance rule. Draft 
rule. Personal account rule. Merchandise rule. Bills receivable rule. 
Bills payable rule. Expense rule. Interest and discount rule. Ship¬ 
ment rule. Consignment rule. 

5. How often should the proprietor’s account be closed in the 
ledger? When may accounts be closed ? For what purpose ? When 
are personal accounts generally closed ? Give the order in which ac¬ 
counts should be closed in the ledger. What accounts are closed into 
balance account ? Into loss and gain account ? What is said of 
checking ? Give the rule for closing loss and gain account. Give the- 
rule for closing accounts having resources and liabilities. Give the 
rule for closing accounts having losses and gains and no inventory. 
Give the rule for closing accounts, having losses and gains and inven¬ 
tory. Give the rule for closing the proprietor’s account. 

6. Write the definitions and abbreviations in lessons 174 and 175- 

7. Rule a day book. Cash book. Journal. Ledger. Trial balance. 
Summary. Finis journal. Give directions for ruling. 


18 





•258 


FARRIAN BOOK-KEEPING. 


LESSON 177. 


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264 


FARRIAN BOOK-KEEPING. 


—- -- 2>V* V0§)^- - ■ 

^AMXyUMA/ 2 >\Ay\A/ 0 jjK/N> SoAAI&OaA 
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^xy\A B- 3- £W,U>s cyvo oJV&wtX 
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265 


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266 


FARRIAN BOOK-KEEPING. 


LESSON 178. 


CASH BOOK. 


(QiniaAa, jjanuaty /, / S^U. 

Dv. 


<^v. 



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JOURNAL. 


267 


LESSON 179. 


JOURNAL. 


(QimaJui, jja muhi/y 4, 48^jU. 


S>v. 


S)UA^y SU^U^xMa/^ 

W/AA/yAy Sxx/vOta^ 

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268 


FARRIAN BOOK-KEEPING. 


Sa,. 






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26 D 


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270 


FARRIAN BOOK-KEEPING. 




4 













(Sd^VJ^ 



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JOURNAL. 


271 


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272 


FARRIAN BOOK-KEEPING. 


LESSON 180. 


S/v- 


LEDGER. 


1 


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LEDGER. 


273 


qVV chandt-ie. 


Sr. 


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'274 


FARRIAN BOOK-KEEPING. 


sivvM'i (JO an 


Dr. 


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276 


ol. < 3 / 

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276 


FARRIAN BOOK-KEEPING. 





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277 


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278 


FARRIAN BOOK-KEEPING. 


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LEDGER. 


279 


ani'miid-uyyi. 


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280 


FARRIAN BOOK-KEEPING. 


LESSON 181. 


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281 


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282 


FARRIAN BOOK-KEEPING. 


LESSON 183. 



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REFORM SPELLING. 


283 


LESSON 184. 



The old method of spelling the words of the English 
Language involves an expense of millions of dollars annually 
for teachers, and is the principal cause of the illiteracy of our 
people, costing each child a loss of at least two years of school 
life. 

English words as commonly spelled contain many silent 
and superfluous letters, which increase the cost of writing and 
printing one-sixth, making a book cost $1.20 that ought to 
sell for $1.00. 

The new method is now being used by leading Journals, 
Educators, Teachers, Bookkeepers and Business men generally. 

We give below the two general Rules with Examples under 
each rule. 

1. Silent Rule. 

Omit silent or superfluous letters if it does not injure the 
sense , or change the signification of the word. 


Tho 

Ot 

Ich 

Aile 

Thoro 

Aut 

Leag 

Ryme 

Thoroly 

Bot 

Tonge 

Slauter 

Thoroness 

Brot 

Receit 

Hyms 

Altho 

Taut 

Furlo 

Rumatism 

Thot 

Thru 

Tisic 

Neibor 

Thotless 

Thruout 

Erb 

Campain 

Thotful 

Det 

Buty 

Strait 

Thotfully 

Detor 

Butify 

Sycology 

Thotfullness 

Catolog 

Hauty 

Morgage 

Unthotful 

Cataloger 

Gost 

Dout 

Afterthot 

Colum 

Depo 

Dauter 

Tlium 

Retoric 

Autum 

Wensday 

Dram 

Numonia 

Septer 

Pam 

Com 

Catar 

Ismus 

Asma 

Numatic 

Gram 

Ancor 

Dialog 






‘284 


FARRIAN ORTHOGRAFY. 


2. Ef Rule. 


Change gh cmd ph to f or ff-, if so sounded . 


Alfa 

Geografer 

Coff 

Cifer 

Alfabet 

Geografic 

Laff 

Decifer 

Orthografy 

Pamflet 

Ruff 

Sulfate 

Filosofy 

Feuix 

Troff 

Saffire 

Filosofic 

Filological 

Cluf 

Asfyxia 

Fysiology 

Fenomenal 

Chuf 

Draff 

Geografy 

Paragraf 

Enuf 

Biografy 

Fonic 

Cenotaf 

Telegraf 

Fase 

Fonetic 

Fotograf 

Telegrafy 

Frase 

Apostrofe 

Atmosfere 

Telegrafic 

Fial 

Sulfur 

Atrofy 

Orfan 

Fysic 

Zefyr 

Hyfen 

Farynx 

Fysics 

Telefone 

Cbincof 

Farmacy 

Fysical 

Telefonic 

Fonology 

Falanx 

Faeton 

Sofist 

Fotografer 

Grafic 

Nefew 

Soflstry 

Hydrofobia 

Lithograf 

Profet 

Sofomore 

Typografer 

Emfasis 

Gralite 

Lafable 

Typografy 

Emfatic 

Fonograf 

Digraf 

Typograflc 

Triumf 

Zo-ografy 

Trigraf 

Profecy 

Triumfal 

Feasant 

Autograf 

Profetic, 

Triumfant 

Ruffen 

Tuff 

Hemisfere 

Seraf 

Tuffen 

Fysician 

Stenografy 

Stenografer 

Foto-Engrave 


FINIS. 





















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